Photoshop Blending Modes Cookbook For Digital Photographers.pdf

PHOTOSHOP

for Digital Photographers

John Beardsworth

I L E X

Blending Modes Cookbook

CONTENTS

Photoshop Blending Modes Cookbook for Digital Photographers

Introduction to Blending Modes 6

Getting Started with Blending Modes 8

When and Why to Use Blending Modes 10

How to Use Blending Modes

Recipes

Brushed Aluminium

124

Quiet Cooling

Vibrant Mix

126

First published in the United Kingdom by

I L E X

3 St Andrews Place

Lewes

East Sussex

BN7 1UP

Pure Bleach

Ultra Color

128

High-Contrast Sketch

Rimmed Color

130

Other Ways to Use Blending Modes

Repairing Highlights

Grainy Hard Mix

132

How Blending Modes Work

Ice Cold

Color Gel

134

Pin Light Bleach

Powder Pastels

136

ILEX is an imprint of The Ilex Press Ltd

Visit us on the web at www.ilex-press.com

Blending Modes in Detail

Hard Mix Magic

Hard Light on Fine Edges

138

Normal and Dissolve

Fire and Ice

Vivid Pastels

140

This book was conceived by:

ILEX, Cambridge, England

Non-layer Blending Modes

Softening Contrast

Super Pastels

142

Darken

Overlapped Lighten Layers

Colored Sketches

144

ILEX Editorial, Lewes:

Publisher: Alastair Campbell

Executive Publisher: Sophie Collins

Creative Director: Peter Bridgewater

Managing Editor: Tom Mugridge

Editor: Kylie Johnston

Art Director: Tony Seddon

Designers: Chris & Jane Lanaway

Junior Designer: Jane Waterhouse

Multiply

Gentle Skin

Faded Fresco

146

Color Burn

Soft Hard Mix

Fauve Colors

148

Linear Burn

Reducing Digital Noise

Candy Colors

150

Lighten

Soft Posterization

Line Drawing with Find Edges

152

Screen

Neon Posterization

Colored Pen and Ink

154

Color Dodge

Hiking Map Contours

Pointillism

156

ILEX Research, Cambridge:

Development Art Director: Graham Davis

Technical Art Director: Nicholas Rowland

Linear Dodge

General Sharpening

Hard Impressionism

158

Overlay

Sharpening without Color Noise

Driving Rain

160

Hard Light

Ultrawide Sharpening

100

Any copy of this book issued by the publisher as a paperback is sold subject to the

condition that it shall not by way of trade or otherwise be lent, resold, hired out, or

otherwise circulated without the publisher’s prior consent in any form of binding or

cover other than that in which it is published and without a similar condition

including these words being imposed on a subsequent purchaser.

Soft Light

Ultra Sharpening

102

Appendix

162

Vivid Light

Emboss Sharpening

104

Blending Modes Keyfinder

164

Linear Light

Woodworm

106

Glossary

168

Pin Light

Hard Shadows

108

Index

170

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from The British Library.

Hard Mix

Hard Mix Highlights

110

Further Sources of Information

175

Difference

Metallic Shadows

112

ISBN 1-904705-68-5

Exclusion

Tarnished Silver

114

by any means – graphic, electronic, or mechanical, including photocopying, recording, or

information storage-and-retrieval systems – without the prior permission of the publisher.

Hue

Color Halftone

116

Saturation

Antique Photographs

118

Color

Water Droplets

120

Manufactured in China

Luminosity

Lens Flare

122

For more information, and to download image files from the workthroughs in this book,

please visit www.web-linked.com/blenuk

Contents

STARTED WITH

BLENDING MODES

GETTING

INTRODucTION TO BLENDING MODES

powerful and popular image editor is that it

allows you to work on a series of layers during

the editing or creation of your images. The way

these layers interact with one another is governed by

Photoshop’s blending modes. Blending modes first

appeared when layers were introduced in Version 3, but

had their earlier origins in the program’s tool blending

capabilities. But how often should you use blending

modes? How useful are they?

Using Photoshop

Filters, styles, and tools

Many ways to blend

Photoshop has so many palettes, brushes, filters, gradients,

and other tools that it’s possible to be a proficient Photoshop

user without ever using more than a fraction of the program’s

extensive feature set. For example, some users experiment

with different techniques using layers and delete them if

they don’t work, while others prefer the History brush to

undo work; or you might select all sorts of complex shapes

with the Lasso tool and not be aware that the Pen tool is a

better choice. In other words, you can achieve great results

by using just a sliver of Photoshop’s power—after all, outside

certain circles there are no prizes for knowing features for

their own sake.

It’s also worth saying a little about what this book does

not cover. As you flick through the recipes, you might at

first imagine that they are the product of filters, styles, or

Photoshop’s retouching tools. In fact, other than Gaussian

Blur, very few filters are used in the recipes. Even when some

recipes use the Find Edges filter to create line drawings,

others accomplish the same thing with blending modes—in

the case of creating line drawings, you’ll learn how Color

Dodge and Color Burn can do a very good job. In this

sense, Photoshop Blending Modes Cookbook is partly about

using blending modes to create your own filters or original

image treatments.

The main ingredients

Using this book

The book is arranged into three parts. This first section

describes where blending modes are found, how to use

them, and how they work. Blending Modes in Detail, page 20,

describes each mode more closely and shows the result of

various self-blends and opacity changes. Here I also point out

interesting applications of a specific blending mode—using

Overlay to add lens flare, for example. Then it’s on to the

Recipes, page 62, the book’s third and biggest section,

featuring step-by-step instructions and examples.

Mask or cut out parts of the

top layer.

With Photoshop offering so many features, you might not

even notice the presence of blending modes. Or, if you do,

you experiment with them, don’t see too much of immediate

interest, and use the one or two modes with which you’re

most familiar when you need them for a specific result.

The purpose of this book is to show you how powerful

and incredibly useful blending modes can be. Instead of

being a flavoring, occasionally sharp, but at other times

subtle and barely noticeable, in Photoshop Blending Modes

Cookbook , blending modes are the main ingredients.

Reducing the top

layer’s opacity is

like superimposing

a thin copy of the

top picture.

Self-blends

Following the recipes

Each recipe stands on its own; so leaf through, select one

that might suit your needs, and apply its steps to your chosen

picture. I’d encourage this approach, rather than working

through from the first to the last. Every image is different, and

your reason for “cooking” one with a blending mode recipe

will also be unique. You may want subtle, natural-looking

corrections, or, alternatively, you may want to transform a

photograph so radically that your friends and colleagues lose

sleep figuring out which filter or plug-in you used. The result

may be hung quietly on the wall, or scream out loud on a

poster. So, find a recipe that looks promising and experiment.

I’m a big cook, and like most cooks I’ve a shelf of often-

inspiring recipe books. Life though is far too short to follow

recipes in minute detail. Every so often, you might add

precisely the amount of chili that the author recommends,

but most of the time it’s much more fun to improvise.

After all, what good cook has never asked, “What if I use

twice as much?”

Primarily, the recipes in this book show you what happens

when you blend an image with copies of itself, and then

change their blending modes. In these so-called “self-blends,”

you’ll be amazed at the range of results you can achieve

from simply inverting a layer (turning it from a positive to a

negative) or from adjusting its layer and fill opacities. Even

more variations result from operations such as converting

a copy of a color layer to black and white, blurring it, and

then combining it with the original color layer using blending

modes and different opacities to achieve an entirely new

perspective on the original image. And when you combine

several blend layers, the number of possible outcomes is

enormous. The purpose of this book is to show you how you

can turn what are now “happy accidents” with blend modes

into a more successful, intuitive, and intentional process.

Change the top

layer’s blending

mode and it’s

more like

mixing paints.

Introduction to Blending Modes

O ne reason why Photoshop has become such a

WHEN AND WHy uSE BLENDING MODES?

One way to think about them is either as a flavor

or as the entrée in the same way that eggs can

be used to either bind and color homemade pasta or

be made into an omelet—a meal in itself. Another

analogy is that they can be used either as a tactical

flavoring or a strategy. Let’s first take a brief look at

“tactical flavoring,” because it’s easier to understand

and can be put to immediate use. Then we’ll get into

the entrée: blending modes as a strategic ingredient,

central to a larger creative process.

Blending modes as a flavoring

Blending modes as the entrée

Perhaps the most common reason for applying a specific

blending mode to a layer is to achieve a certain result or

to fix a specific problem. For instance, duplicate an image,

switch the duplicate layer’s blending mode to Multiply,

and the result is always darker—as if you’re holding up

to the light two registered copies of a slide. Switch the

blending mode to Screen, however, and the result is always

lighter—as if you’re projecting two copies of the same

slide onto a wall. Here, you already have a quick recipe to

fix overexposure and one for underexposure.

Another example: the Luminosity blending mode is frequently

used with Curves adjustment layers because, while Curves fix

image contrast, they can also cause visible color shifts that

the Luminosity blending mode will help to eliminate.

How about fixing wrinkles and skin blemishes by setting

the Clone tool or Healing brush to the Lighten blending

mode? With this mode the tools only affect pixels darker than

the “good” skin you sampled. Alternatively, copy such areas

onto a new layer and use the tool in Normal mode, then set

the layer’s blending mode to Lighten.

These are just a few ways in which blending modes can

be used as a means to an end—and that’s what I mean by

“flavoring” or “tactical” use.

Most of this book, however, is about using layer

blending modes in a much more creative way—where

the image is copied into multiple layers and each layer’s

blending mode is carefully chosen.

Unlike “flavoring” or “tactical” use of blending modes,

it’s not so easy to say when or why you might want to

use blending modes in a more creative way. What might

be helpful is to think of using blending modes as an

alternative—an alternative to using filters, an alternative

to using certain tools to enhance an image, or even

sometimes when the only alternative is discarding an

image altogether. You will have to decide what you

want to do with your image and why. This book will

give you plenty of recipes showing what blending

modes can cook up, so let’s take a closer look at some

of the ingredients.

The Soft Light and Overlay

blending modes are often used

for dodging and burning black-

and-white images.

Setting the text layer’s blending

mode to Difference ensures that

it is always visible whatever the

underlying image color.

When and Why Use Blending Modes?

S o, when and why do you use blending modes?

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: