Adobe® Photoshop® Deep Dive: Blend Modes


Adobe® Photoshop® Deep Dive: Blend Modes


Lesson Info


We are going to have a go at sharpening and the blend though that we're going to use for are sharpening it is overlay okay, so what we're going to do is I'm gonna delete the layer that I already made for you to mend a little bit more, so now we're going to start from scratch, casey just opened up your image and if you're dealing with a multi layered image, you're gonna activate more than one layer I've got an example of that that I'll show you here in a minute. This is just a single layer, so don't panic if you're dealing with a multilayer document, I'll show you how to do that in just a moment, so the first thing we're going to do is we can either duplicate the layer let's just go in duplicated there we go see again proof that commander control j works on a lot background layer. Now we're gonna turn it into a smart object by choosing by right clicking or control clicking near the layer name in choosing smart object that's one way to do it or we can try it up to the filter menu and cho...

ose convert for smart filters doesn't matter which way did the result is the same and you create a smart object now what we're going to do is we're going to set the blend mode of that duplicate layer or smart object to one of four ltd's depending upon how sharp you want the photo to be if you want it to be very strong sharpening which would be good for an image like this because it's got a lot of high contrast edges and if you think about what it's a photo of its ok for it to be extra shar for more sharp and then something like, say, a baby or a flower kitten or something that's supposed to be all soft and cuddly this stuff is not supposed to be soft and cuddly you're supposed to see all the wonderful detail and it so we can either choose hard light for stronger effect and even stronger scharping we can get with linear light and more stronger vivid light ok? Or if you want subtle you khun do overlay okay, so you can think of these modes for sharpening is subtle a stronger stronger stronger still okay, so as you go down the list they get more and more strong okay? So for this one we're going to start with hard light. Okay, now what we're going to do is run the high pass filter ok? So we're going to trot it to the filter menu to sharpen who's not sharpened other high pass now what we're seeing here in this preview area as well as on our layer thumbnail over here is the image is being converted to fifty percent gray and the only places that we're seeing color show through those are the areas that are actually going to be sharpened okay the edges now how much sharpening do you want to do? I would never ever, ever run this filter it anything over four ok, so now you're really seeing a lot of gray and you're seeing the high contrast edges where photo shop is going to apply the sharpening okay, so I always do this sharpening at anywhere from two to four pixels depending upon the strength of it. Okay, so this remember between two and four click ok? Andrew finished here's a before the high pass filter or actually I'll do it this way there's our before there's air after nice and sharp is it too sharp? No worries dropped the opacity of that layer ok, so we're gonna do that again. I'll close that document everybody hungry yet? How about scharping little chocolate chris on yeah, well, I'm I had started to talk about food very so what I'm going to do here is throw the filter away that iran so we can do all this together, man and make it into not a smart object ok? So pretend we just opened this photo and what we're gonna do is we're going to immediately duplicate the layer we're going toe tried it to the filter menu choose convert for smart filters now we're going to change the blend mode of that layer tio something in the overlay category if you want soft sharpening early if you want more intent sharpening, go for hard light vivid light or linear light let's go for hard light now we're going to run our high pass filter so we're going to go up to the filter menu choose oops filter menu choose other high pass enter a value between two and four you can go below two if you want if if whatever you're working with israel soft like a baby not that I know because I've never touched one serious phobia of children man ok, so we're gonna go three pixels for this one and again what you're seeing in the preview here is the areas in which you're going to be sharpened that's all that high contrast edges and you can also use these little zem tools within the filters preview here these little zoom uh minus and plus underneath so you can see visually every area is going to be sharpened anything that's not gray is going to be sharp and she's going to be no sharpening happening in this area or this area over here, but I am gonna have sharpening along that edge I'm gonna have sharpening along that ege and a little bit over here I don't know of any other sharpening method that lets you visually preview exactly what's going to be sharp and other than using high pass I love this method scharping plus there's only one number two memory isn't here instead of what? Three settings and chart mask dialog box I think this way is easier okay. College din there's you before there's your after a little bit more subtle on that one and the great thing about doing it this way is if you think oh, man, I should have chosen another blend move because I wanted more stronger sharpening just change the blood moon. Okay, so look at what vivid light would look like a little bit more intense sharpening lennier light a little bit more intense still so now here's a before and an after that's seriously flexible sharpening going on right there case let's close that one and for portrait I would definitely do something a little bit more subtle. Okay, let's, zoom in a little bit, go down and change tools so we don't have that big cursor on our screen there. Okay, so here's our image and we're going to do a couple of different things here with this one. This image has actually had two rounds of sharpening hey it's had global sharpening so sharpening using the high pass filter that affects the whole image and then what I've done is converted a smart object out of those two layers theory journal in my sharpened layer, I've created a smart object out of that, and then I have applied another round of sharpening that I'm on ly revealing where you see why on this mask so the extra around a sharpening that I did, which will call selective sharpening as opposed to global sharpening or local sharpening as opposed to global sharpening. We've revealed it on her lips to give her a little extra lip gloss, and we've revealed it on the irises and the eyelashes hey, so here's a before so watch the irs is of her eyes in her lips. Okay, so that's, what we're going to create with this one. So to do that, I need to get to my original image, and I've got a smart object going on here and I think there's some layers stuffed into that smart off it that's. Another great use for smart object is combining several layers so that you can use tools that work on single layers like filters. So to expand any smart object, that's got more layers tucked into it. All you have to do is double click it slayer, thumbnail and photo shop is going to say, hey, I'm gonna open, I'm going to expand the smart object in a whole another document. And when you're finished editing the other document, if you just save it and close it that I'll update it back here in this document, that's all this dialogue boxes saying, ok, so here is our original see how it expanded everything into a new temporary document, okay, so what we're going to do is I'm going to delete these layers so that we're back to our very first starting point, ok, so here is our original image that we just opened, okay, first thing we're going to do is duplicate the background layer. We're going to try it to the filter menu, convert for smart filters, change the blend mode toe overlay on this one. So if you remember the categories that we named all these blend modes earlier, what was this category called? Those were our contrast mode, right? What is sharpening? Is it not adding more contrast to high contrast edges? It is so let's, go for overlay, okay, might be a pretty effective spy itself. Ok, so now we've got a difficult layer that we've made a smart object out of, so that we can run the sharpening filter non destructively, and we've changed its blame mode overlay this time, so the sharpening is a little bit more subtle, this is global sharp name that we're going to let be visible across the whole image, and since it's a portrait, we want less sharpening because nobody wants their pores sharpened it. Trust me on that one. So now let's, go back up to the filter menu and let's choose other high pass and again, use these little zoom tools. If you want any areas that are not dark gray in the preview, our areas, they're being sharpened. Okay, enter a value between two and four. Will it leave this at three and I'll probably find for this one click ok that's, our global sharpening. Now what we're going to do next is a trick that you can use on a multilayered file, whether or not you've sharpened it before or not. What I want to do is I want to do something that puts all of this stuff in my layers panel here, into a single layer, onto which I can do the exact same thing again, but I'm going to be over sharpening, and I'm only going to let that be viewable on the irises and on her lips or anything else that you want to accentuate could be hair, you know? If she had a straw hat on, I might accentuate the texture and then a little bit if you wanted to do anything that you want to really make draw attention to you in the image so what we're going to do is we're going to stuff all of this inside of a single smart object doing so is going to give us one layer toe work with and if I ever need to get back to any of this, all I have to do is double click the smart object and it'll expand or right into the temporary document just like it did here. Okay, so how do we make a smart object out of multiple layers you click to activate one layer and then you shift, click or command click to activate the other layers that you want to put into the smart object. Once you've done that were going toe control, click on a mac or right click on a pc to the right of the layer name somewhere in this vicinity and from the resulting many were going to say convert to smart object hey, or you could have said filter smart filters does exactly the same thing, so now we've got a single layer to work with right yahoo so now let's trot back up to the filter menu actually I'm gonna try duplicate that again no, I'm not going to duplicate that again now ok we'll try back it to the filter mini now we're going to choose hi pass again but I want to adjust the settings in there so I'm gonna go ahead and not choose the previously run filter I'm going to go down to where the filter actually lives so that I get the dialog box again and I'm gonna pump it up to four cause I'm going over sharpen okay now because I didn't duplicate that smart object before I sharpened it I can't change this blend mode menu bed when I can do is double click this cryptic little icon that appears to the right of the filter name and opened the filters blending options okay it's exactly the same thing as duplicating that smart object changing its blend mode tio overlay hard like linear like vivid light and then running high pass this is the same thing a little bit different method and I just wanted to show you this filter blending options because there's another blend mood menu there that we haven't yet seen live ok so let's double click that here's that filter blending options dialog box with a nice blend mode menu at the top what are we going to change it to something in our contrast mode section if we want subtle we go for overlay stronger we go for hard light vivid light linear light we're going to use linear line on this because we want serious over sharpening for this localized sharpening that we're doing or selective sharpening press okay, you ha look at those freckles now let's fill this automatic layer mask with black okay, so any time you want a filter on a smart object or you choose that convert for smart filters you get an automatic layer mask so we're going to try to the edit menu choose phil pick black from the pop it manu now we've effectively hidden that second round of over sharpening that we did so let's zoom in a little bit position our document where we can see the items that were going to be working on we're going to switch to the brush tool by pressing b we're going to make sure our smart filter mask is active and we know it active because it has that little bracket around the corners in the realm of the layer mask painting with black conceals and white reveals. So what are we gonna paint with? Right so let's flip flop our color chips in the bottom of our toolbar so that we're painting with why coming appear to her irises and that's all we're going to reveal the over sharpening on, but as I look up in my options barak and see that my breast who is still set to know opacity of fifteen so let's go ahead and pump that up to one hundred ok now let's paint on just the irises of her eyes to reveal that severe over scharping and don't panic we're going to lower the opacity of this over sharpening here in a second and it's gonna look really beautiful you could also come in here and reveal the over sharpening on her eyelashes to really make them pop you just want to make sure that you don't catch any of that pinky area okay so if you're charging by the hour this is a fabulous technique to dio do every single eyelash individually if you're charging by the hour yeah now we're going to come down here to her lips and we're going to reveal the extra sharpening on her lips and it's going to look like we're reaching into the photo and applying another round of lip gloss and again don't worry because we're going to lower layer or pass it and make this look good she's got like the best lips in the world I wish I had those lips you can and photoshopped I can't believe I shot you bitchin all right so here's our before and after of our over sharpening our local on a sharpening all right how do we lower the opacity that if wheeler opacity of the layer that's bad news right so what we need to do is lure the opacity of the filter itself which you can do by opening up those filter blending options again maybe go for something around fifty percent or even less and you still got your blood mode controls right here so you can take a spin through those other blend moves that would work to see what you like subtle sharpening stronger sharpening way go it probably looks good it about fifty there we go so there's our before we still got our global sharpening being revealed across the whole photo and then we came back in made a smart object of all those layers I ran another round of sharpening that we're revealing on lee on the irs of her eyes and on her lips and on her eyelashes if you want to take the time to seem really far in and paint them one by one can you even imagine so let's take a look at that on I did see a man ok so let's take a look at what we've got going on in our layers panel over here okay so this time we're gonna use another method for dealing with a multilayer document ok so the method we used a moment ago was cramming it all into a smart object you can also create what's called a stamped or emerged layer it's good to know how to do both thank you extra flexible ok so I'm going to go ahead and throw away all these layers that we start over from scratch and build this thing up completely okay so here's our original image colors a little flat so let's add a levels adjustment layer to bring that back in line and I was going to go ahead and use my levels eye droppers here something clicked the black eye dropper come over to the image and women click somewhere that really should be black and his hair and then I'm gonna come over here with the white eyedropper and I'm gonna click somewhere that really should be white like hiss t shirt actually don't like the way that looks so I'm gonna keep clicking around a little bit more here we go and then I can use this slider to adjust the mid tones if I'd like ok so there's are seriously go away there's our levels adjustment before and after so now right sharpened but we've got more than one layer filters only work on one layer right? So what we can do here is it didn't have photo shop merge or create another new layer that includes the contents of either all the layers and your layers panel or just the ones you currently have active at a given moment ok, so if you're you've got some text going on or some other kind of graphical element that you don't want to include in this stamped or emerged copy then you don't have tio activate you could just activate the layers that you wanted to copy a sort of telling photoshopped hey copy all of them ok which is what we're going to do he could do it in one of two ways. You can do it with the keyboard shortcut wishes shift option command e on a mac or shift all to control e on a pc ok, and you can see what photos shot did right here. It created a single layer from everything else that was in the layers panel. If you had more layers that you didn't want to merge like that, then you would just click to activate all the layers that you want to add to that stamped copy and then do that keep work circuit ok if you don't like that cable which are cut and it is a hard one to remember, it took me years to memorize that one then there's another way you khun d'oh! If you press and hold the option chiana, mac or all on a pc and you click the layer panel fly out menu, then you can choose merge visible. Okay, how do you know you have to add that option or all key? Well, if you look at the keyboard shortcut next to that menu item is just shift command e well, that won't give you a stamped emerged layer. You have to add that option key so it's just it's not an option in this menu, so you have to hold down the key before you access the menu retort merge visible fuck shot do the same thing okay, we're going to do that again so don't panic about that. I think so now already do the exact same thing we did a moment ago okay, so we've got our merged layer here so now we can convert it for smart filters so filter cover for smart filters change its blend mode subtle sharpening, stronger sharpening, stronger sharpening stronger still ok, so let's go for overlay since it's a portrait come appear to the filter menu choose other high pass enter value between two and four click ok college in take a spin through the other blonde moment if you want to see if you like the look of those versus the one you started out with okay lower layer opacity if the effect is too strong now what we're going to do is we're going to look at doing a little sharpening and brightening kind of at the same time okay, so we're gonna open at this image and again I've given you a slew of the images to play with, so I hope you will do that they're going close that window don't say thinking now let's take a look it's at the before and the after so what we're doing in this particular image I'll had many bridge so we can focus on our cable girl here what we're doing with this one is the exact same steps but instead of changing the smart objects blend mode for sharpening we're going to change it to screen for some bright ning then when we run the high pass filter we're going to use its blending options dialog box to change that for sharpening okay, so we're doing two steps in one with this technique both with blend modes so let's go ahead and delete the layer that I made for you ok, so we're gonna start off by duplicating the layer okay or earth you're dealing with multi layers you're going to do that stamping trick or you're gonna cram it into a smart object stamping trick for this one will work a little bit better though I think so let's duplicated tried it to the filter menu convert for smart filters change the blend mode to screen if you'd like actually will save that to last because if we do it right now it's going to mess up our sharpening preview a little bit ok so now we've got our smart objects so we're set for running a filter non destructively let's trot back up to the filter menu choose other high pass enter value between two and four I'm gonna let wilson roll it for even though in real life I probably do about two because I want you to see the effect it's more pronounced on screen click ok now let's change that filters blend mode tio overlay so give that little icon to click and any of these guys would work overlay hard light vivid light linear light okay let's just use linear for fun there's the before there's after drops the gray right out if you want to back off of the capacity of the sharpening you could do that right here who has a little bit too much sharpening ones go to fifty percent on that and that's the great thing about doing this kind of sharpening technique with the smart objects is because you building the ability to change it infinitely without having to undo a single thing which I really love now for our bright ning what we're going to do is change the blend mode to screen it's going to get way too bright we're gonna drop thehe pass ity to about twenty five percent and that's it okay so there's the before there's the after we've sharpened and brightened in one step case let's do that again not a great candidate for this here's our before there's are after so let's go ahead and delete this layer ok, so duplicate the layer or if yeah it's a party now whatever it's three twenty I think photo shots get a little bit tired, you know hey, I'm almost done here okay, so difficult the layer if you're dealing with a single layer document or for dealing with the multilayer document create emerge or stand copy okay now what we're going to do is convert that for a smart filters so she's filter convert for smart filters now we're going to run our high pass filter for sharpening filter other high pass in her value between two and four and that great you can see I mean look at this people look at this detail look you can see everything you're going to sharpen you can see it cannot do this within chart mask you cannot it's beautiful isn't it amazing you could just see I mean I could dial in different numbers and I can see the change I can see exactly where it's going to affect that image I love this so much okay we'll split the difference and go for three on this one click ok now we're going to double click the wool filters blending options so we can get at its ballin moons were and choose or relate hardline vivid light or linear light was choose vivid this time click ok again if you wanted to back off of the opacity of the shark me you can do it right here but if you decide to do that later all you have to do is double click that will icon to open it back up now if you want a little brightening along with our sharpening let's change the blend mode too screen too much brightening let's drop the a pass it e to about fifty percent l z man a little bit so we can see more of the image here's the before there's the after cool stuff huh? All right again you've got a slew of files in there to play with I have some other things I really just want to get through are there any general questions on sharpening that's pretty easy went in in value of two or four between two and four uh that's shot just has one question which is with this scharping technique be a good candidate for creating an action you think yeah absolutely that's a great point thank you for pointing that out this would be a great candidate for making an action and action is does she telephoto shot to record on my keystrokes ok so let's keep moving on now we're going to take a look at using well way are going to take a look at creating a nice high contrast image and I don't see it in the folder that I thought it was going to be and so I'm going to take a peek over here real quick okay? It comes after this effect so I just wanted to make sure that we get to that so let's use linear light tio turn a loved one two stone shall be useful if it this again is a great and graphic designs is great in advertising because an advertising you want to create a striking image okay, so if you look over here in my layers panel you can see exactly what I've done here. Okay? I created a selection of the lady skin super easy to do because there's so much contrast okay, let's just do that one real fast here. So quick selection tool select by color creative selection of her skin very easy again because this has pre high contrast. Okay, so that's all I did to create the selection so let's just pretend that I I did that and then all I did after I had my selection it was I brought in this marble texture and I'll turn it back to normal moves. You can see what that looks like and temporarily disabled a mask. Okay, so I created a selection of the lady skin brought in this other texture changed the blend moto linear light and because I had an active selection when I add the layer mass is the mass was filled in automatically sold us enable that again and that's what we get okay, drop the capacity of the texture a little bit. Ok, this one is actually stepped out in full in my book as well but it's a it's a fabulous technique and it builds on the same exact things that we've been doing all day today at another texture changed the blend mode of it dropped the capacity and then mass that texture where you don't want it to appear which would be you know, over her clothing okay if we want to make it look like she's made a stone can you imagine this in a an advertisement for a gym? I mean to be perfect okay, so now we're going to move on to the high contrast and we'll do a pet and we'll do a person ok, so here's the effect on the person this is super easy this so easy, so very easy what we're going to do is go back to the original image so here's our starting point we're going toe duplicate the image by pressing commander control jay we're going to change the blend mode to something in the contrast category we're adding contrast let's use hard mix we get our image is reduced to six colors plus black and white remember it's the post oring pressurizing effect this looks really good then it come up here to the phil menu, not the opacity just the field because hard makes is one of those moments where opacity of phil behaves differently you're going to drop the phil to anywhere between ten and twenty five percent for this one it's somewhere around fifteen or twenty works well gets it before after nice look at this picture before after pretty big contrast boost huh? Again if you're dealing with a multilayer document, all you need to do is somehow get those layers into one layer okay? She could either click to activate the layers, turn him into a smart object or clicked about click to activate the layers, hold down the option king on a mac or altana pc choose the layer, fly out many and then choose merged visible that's the same thing is holding down the shift key the option key the command key and the e chiana mag or shift all control d on a pc it's the equivalent so that's the fix if you're dealing with multi layered documents were not in this case so we just did a straight duplicate change the duplicates blend mood tio hard mix and lower the phil to twenty five percent before after that's it take a look at one more just because I'm cat lever who's with you kitty case all delete that layer this is our original image actually I was a mountain of it you see the whole thing duplicated or stamp it changed the blend moto hard mix drop the phil to between ten and twenty five percent this one probably looks a little bit better and around eighteen or so there's the before there's the after beautiful in it all right now let's take a look at a really fun technique I'm going to show you what we're going to create first and they were going to do it together this is a pretty pretty pretty effect like that and that gorgeous it's a half tone effect what the heck is a half tone is going to be your very nice question I of course have an example that the half tone pattern ok uh commercial offset presses use half tone dots ok that are commonly made from circles and diamonds to create what appears to be a solid color okay if you've ever looked at a newspaper this slightly out of registration which mean means the plates weren't exactly lined up you can kind of see this effect right here where it looks like you're getting kind of a double take on the pictures and the words the plates weren't exactly and register but you can tell if you look at some printed materials that were present on offset press that they are indeed comprised of a series of does this is called a half tone pattern okay, so what we're going to do is we're going tio use a siri's of steps here this one is about a five step technique probably the most complicated when we've done yet today but it's not too bad at all so don't worry about that okay let's minimize our little bridge panel okay and what we've got going on over here in our layers panel and again I've tried toe help you remember what's happening with the names of the layers we've got a new layer filled with fifty percent grey set to the blend mode of hard mix then we have ran the noise filter on it and then we have run gaussian blur on that same layer then we have drop the phil to seventy percent least a couple of people that after a while back about why the fifty percent gray and if you could just explain that again that would be awesome absolutely because fifty percent great drops out in these modes and it just gives you pixels into which to run filters on thank you but dad gum isn't that a pretty effect with I love the way that looks I squealed when I did it on this picture and I try and try and try to find pictures that really it makes a big difference on and I went through probably about twenty different porches before I found this one that it just popped on and I was so happy I screamed and jacobs turn in there what's wrong like look what I made it's like pets nearly hit that's really get any I think so let's take a look at creating this from scratch yours I original very artistic you can sell this as a photographer I know you can okay let's create a new layer ok, so we're gonna go ahead and uh press shift command in on a mac or shift control in on the pc and we're going to change this new layer teo hard mix and the only reason that I'm using the new layer dialog boxes because it lets you create any layer and changes blend mode of same time saves you click she's hard mix now we're gonna go ahead and click ok and photo shop is going tio reduce the image uh once we changes blend mode oh, we got to feel it for two percent gray I think so creating the layer change the women too hard micks fill it with a d percent gray she's edit phil from the eu's poppet menu choose fifty percent grey because in a few minutes that gray is going to drop right out. Okay, now photoshopped produces your image to six colors plus black plus white. Now what we want to do is we want tio run the noise filter case we're going to try to the filter menu, come down to noise and choose ad noise. Scoot this out of the way a couple of changes you want to make here we're going tio set the distribution method of the noise to a gaussian okay, and then we're going to turn on monochromatic so make sure that this is set to gaussian and that you're, uh, monochromatic checkbox is turned on we monochromatic checkbox just means we want black and white noise we don't want colored noise that's it okay for the amount you're going to go for a anywhere between fifty and one hundred percent depending upon how strong you want the effect, why don't we split the difference and call it seventy five so between fifty and one hundred somewhere in there? Okay now we've gotta have tuned going on but it's much too harsh let's blur it so filter blur gaussian blur now for this one we're goingto do a blur of anywhere between two and ten pixels depending upon how big your pixel dimensions are of the image you've got a honking big image go for ten pixels if you've got a lower pixel dimension image go for a lower blur amount okay so anywhere between two and ten let's call it eight click ok now what we want to do is lower the feel tio seventy percent or less let's try seventy and it's just so pretty it's just so pretty I was trying to go in full screen mode by pressing the f key and I was still in the phil setting so I was trying to enter f and phil setting I just think that is gorgeous. All right let's do it again on another image this'll marks out really well teo through a pretty so does the little girl let me all right so let's delete this layer we can leave it hanging around actually there's our original image this is also a great technique to save a subpar imager an image that you just can't seem to color correct to your liking but the subject is really good it's a great fix for that so first step new layer should come in and should control in change the blend mode tio hard micks click ok fill it with fifty percent gray choose edit phil from the eu's poppet menu choose fifty percent great cause it's always an option click ok now we're ready to run earn noise filter trying to the filter menu noise ad noise choose a value between fifty and one hundred percent make sure that you've turned on gaussian and monochromatic click ok now we're going to blur that layer to make our half tone patterns softer so we're just using noise what we've done here is we've reduced the colors in our image tio six called six colors plus black and white right so that made it kind of specialty but everything high contrast then we ran a noise filter so we introduced more picks elation and more speckles and spots right then we blur it and that gives us our half tune effect so with the blurring stage now so let's go to the filter mini choose blur gosse ambler inner value between two and ten pixels we'll leave it set to eight click ok now we're gonna drop the phil teo seventy percent or lower and that's it I think that's key this thing and again here it is on another image there's the before there's the after makes it into a completely different thing doesn't it now your next question will be well lisa you've all but plugged up her eyes with this technique how can that be? Good big deal and later mask to that layer that you created the halftime pattern on grab the brush tool set to paint with um black black conceals fight reveals some of the press x two foot fault my color ships this time I'm gonna click the little curved air above the color chips because photo shop is clearly acting out for spite now he's my red right bracket keyhole well, no keyboard shortcuts gonna work now that's a lot of fun okay breast too we're going to use the rarely access to brush preset picker size slider because photo shop is really just infested with me now there we go we'll call that good and now with black is our foreground colored ship. We can come over here and paint within this layer mass that we added, we can't hide the effects from her eyes, which is going to look really weird for about five seconds now we're going to come over here and double click the mask and lower mask density see now here's our before and here's our after so we've always been is hidden the half tone effects from her eyes so I think that you need all right now let's take a look and a little edge frightening there do we have any questions on that have to effect from the great wilds of the internet? Let's see, I think so yeah and I know you have so much to get through right? I'm going on okay? Ed brightening sometimes you don't need sharpening you just want edge brightening okay case in point zoom in a little bit here's the original image if I sharpen this no matter what I did is going to look to sharp to me ok? Because this is a soft image it's a flower, right? So instead of sharpening, all I want to do is brightened the edges a little bit and we can get a very subtle effect that looks like this see how it's brightened but not sharpened so there's the after all we've done is lightened the edges just a tiny bit okay, we're going to use the divide blend mode, which we've not used yet today to get that done all right, so I'm going to go ahead and, uh delete these layers so that we're starting off at square one, so this is a great technique if you've got something on image that you want to remain soft, you just want to brighton the areas of high contrast just a little bit without actually sharpening, which is a much more much stronger effect okay, so what we're going to do is duplicate the layer we're working again I don't know why duplicate the layer and then we're going toe apply a gaussian blur but we're going to need our point double oh seven math again because we want to do this by about six tenths where the blur strengths needs the blur strength needs to be about six tenths of a percent of the longest pixel to mention whether that's height or with so it's pop into our image size dialog box to see what our longest pixel dimension is let's call it fifty, one hundred or even five thousand would work you know it doesn't have to be exact you just want to get in the ballpark so fifty one hundred pixels is our biggest dimension let's bring up our trusty calculator and I'll close that little dialogue so in her fifty one hundred times point what's your favorite secret agent double oh seven equal that's our blur filter ok call it thirty five as her blur strength rather ok come back over here tio photo shop now we're ready to run the gaussian blur filter so try it to the filter menu choose blur gosse mueller what's your magic number thirty five click ok now what we're going to do is we're going to set the blend mode of this blurred layer tio difference, so actually using the different mode and divide mode in this technique, so we're going toe click the blend madman you tried all the way down to difference, okay, so now we're what are we really seeing with a difference mode? We're seeing where we're seeing the differences between these two layers, okay, which is the original sharp player in the blurred layer? Okay, so everywhere you're seeing color that's where these two layers differ, hints the blame on mame difference. Now we're going to create a single layer out of these two layers, ok? We could do it as a smart object that let's go ahead and use that stamp emerge technique again, just so you all kind of get the feel of how that works. If you want to merge everything that's visible into a new layer, then you can use that keyboard shortcut, shift option, command e or shift all control e on a pc see how we got another new layer comprised of everything that was going on and all the other layers that we had now what we're going to do is turn off the blurred layer, turn off its layer visibility, and then we're going to invert this layer okay and inverting is going to do what it's going to flip flop all the colors in this layer to their opposites ok so we can do in several different ways easiest way is to just use divide mr step one moment please in case we turn off the blurred layer then we're going to invert the stand merge layer with the keyboard shortcut and then we change it to divide okay so the keyboard shortcut for inverting the layer which would be the same as setting it to subtract blend mode but since we need to change this blend mo to divide in a minute we can't use that blend mode menu twice so we're going to do with the keyboard shortcut instead and I know it lives in the menu system somewhere I was not sure where it is the keyboard shortcut though is command I for invert on a mat or control I for invert on a pc and I just don't remember which menu that thing lives in but anyway what we've done is we've inverted the colors so we flip flopped and so what was black is now why and so on and so forth okay, so and do that again so here we are on our layer that we stand so it's comprised of these two layers turn off your blend mode you're blur layer rather and we're going to invert this layer by pressing command I on the mac for control I on a pc that's awful when you hold it down you get kind of a flashing effect that can be fun now we're going to change this blend mode to divide there we gook okay? So there's our before and there's our after all right, let's, do this again. Okay? Starting over original image what are we going to do? First we're going tio duplicate the layer now we're going to run a gaussian blur on it. Such use filter blur, gaussian blur what are we going enter for our blur amount? Well, our largest pixel dimension was about fifty, one hundred so you multiply that by point double oh seven and you get thirty five so we enter thirty five is our blur amount? Click ok, now what we're going to do is we're going to set the blurred layer to the blend mode of difference and that's going to simply show us the differences between the blurred layer and the sharpens layer. Now we're going to make photoshopped create another new layer that consists of everything else that's going on in our layers panel by using our stand or merge layers technique and you can either do that by pressing shift option command e on a mac, her shift control shift all control e on a pc now we're going to turn off the blurred layer we're going to invert the colors on this layer to flip flop them so what is white becomes or what's black becomes white so on and so forth what's green becomes or red becomes some greenish color and we do that by pressing command I for invert or control I for enver on a pc now we're going to change the blend mode to divide their radio before after and if that's a little bit too much bright ng for you just lower the opacity of that layer until it suit you ok, so let's look at that on a different image really works great on images that have a lot of detail in them so here's the before there's the after it's such a soft effect she can really think of it is as super soft scharping the big difference between doing this in in honestly sharpening your layer is that sharpening tends to work on on the smaller details you know in the image where is this technique is working on a kind of larger areas overall and we're focusing in on the areas really highlights you know on her edges ok, so let's go ahead and delete both of those layers there so we're back at square one now we're going to duplicate our layer duplicate our layer there we go now we need to see what our biggest pixel dimension is so choose image image size about forty, two hundred is our largest pixel dimension, and it doesn't matter if it's with their hype. So forty, two hundred forty two hundred times point double oh, seven for six tenths of a percent of the longest pixel dimension. And we get about thirty. Okay, so now we're ready to go run our gaussian blur, filter, filter blur. Gosse ambler! Oh, my gosh. I forgot what it was fifty then I call it fifty holly how? Never fear the calculator is still here. Thirty. I made a rhyme. Tio there you go. Now we are ready to change the blend mode of the blurry layer to divide. I mean difference rather because we want to see the difference between the sharp blair in the blurry layer. So there's the difference. Now we want to create a new layer comprised of everything else that's going on in our layers panel that is making up this image. Ok, so now we can press shift command option e or shift all to control liana pc. So we've got a new stance layer so that we're keeping all of our original stuff intact here because we want to go back and edit it, turn off the blurry layer now what we're going to do. Is, we're going toe invert this layer. So we're going to flip flop the colors with command I or control I on a pc, and then we're going to change the blend mode of this layer to divide. Drop the opacity if the effect is a little too strong. Also email of it seems to the whole image. There's the before there's the after I get the beautiful technique really, really do.

Class Description

Master Adobe® Photoshop® Blend Modes! Lesa Snider is taking a Deep Dive into the various Blend Modes, and will show you everything you need to know about this versatile tool. Overlay, Darken, Color Burn... Lesa will show you the difference between each mode and which mode is most useful for your creative needs.

Software Used: Adobe Photoshop CS6