If you select an area in your image (a person’s face for example), and then add an adjustment layer (such as Curves), clicking the Auto button, will make the adjustment based on the selected area. Then, you can always disable or delete the mask to apply the effect over the entire image. This produces a different result (based on the area selected) than if the Curve adjustment layer was added to the image without a selection and the Auto button clicked.
Posts tagged "Adjustment Layers"
In this Quick Tip (Color Lookup Adjustment Layer in Photoshop CS6), Julieanne demonstrates the new Color Lookup Adjustment layer and walks you through how to download a template to quickly apply these new “looks” to your images.
You can find more detailed instructions for downloading the template file here.
The Gradient Map Adjustment layer has over 35 new presets to emulate traditional darkroom techniques for toning and split-toning photographs. In this video (Photographic Toning Presets in Photoshop CS6 ) you will learn how to load and apply gradient maps to a single image as well as how to download and use Julieanne’s template to quickly see what each preset would look like on your own photograph through the magic of Smart Objects.
The Gradient Map Adjustment layer has new presets for toning and split‐toning photographs, however they are not loaded by default. To load this set, add a Gradient Map Adjustment layer and, on the Properties panel, click on the downward facing triangle to the right of the gradient. Click the gear icon and choose Photographic Toning from the list. To add these gradients to the default gradient set, choose Append. To replace the default set, choose OK. Note: you can always reset the Default gradients by clicking the gear icon and selecting Reset Gradients.
Click here to download the ColorToninGMAL.psd template to quickly preview your image with each of the Color Toning presets applied. To replace the lighthouse image with your own photograph, double click on the layer thumbnail for the Lighthouse layer so that it displays in it’s own window (Layer 1.psb). Then, copy and paste your own photograph into that document. You will most likely need to resize your image by choosing Edit > Transform > Scale so that it fits (centered) within the canvas area. Then, hide the lighthouse layer (Layer 1) or delete it. Save and Close the Layer 1.psb file. and the multiple instances of the original “lighthouse” smart object will be automatically updated.
After selecting the gradient that you prefer for your image, you will want to apply that gradient map to your original. You can do this in a variety of ways including:
• Opening your original, adding a new Gradient Map adjustment layer selecting the gradient that you prefer.
• Selecting the adjustment layer in the template and dragging and dropping that layer to your original file.
Note: the last 3 gradients, I added just for fun. Click here to download these gradients. Double click on the jkost_3ToningGradients.grd.zip file to unzip it and then double click again on the jkost_3ToningGradients.grd to install them.
The new Color Lookup Adjustment Layer in Photoshop CS 6 has several options (3DLUT File, Abstract, and Device Link) that are used to load different “looks”. These looks are achieved by remapping every color in the image to a different one using a lookup table (LUT). I think that many photographers and designers will find their resulting color shifts quite interesting.
Note: historically, LUTs have been used primarily by the film industry as they’re an excellent way to apply color adjustments from one application in another application that may not share the same math. For instance, a film workflow may involve 6 different compositing and rendering applications — some with good color adjustments and some without. If they create one 3DLUT that contains all of their adjustments, then they can use that LUT in all the applications to get their desired look. In the film and video industry, they may have LUTs for source normalization, scene color correction, creative color appearance and output simulation.
Here are some examples of the LUTs that Chris Cox included in Photoshop CS6. You can think of these tables as a sort of meta-adjustment, a way to apply pre-packaged adjustments (sometimes lots of adjustments together) in one step.
Of course Chris provided more “looks” than appear in the illustration above, so I created a downoadable file (LUTimage_replace.psd) that you can use to quickly see your own image with each look applied:LUTimage_replace.psd
To replace the Venice image with your own:
• Open YOUR image and crop it to 1500 x 1000 pixels at 150 ppi (it can be either horizontal or vertical).
• Choose File > Save As to save your cropped version of the file with a new name (please don’t save over your original).
• Open the “LUTimage_replace.psd” file and in the Layers panel, select the “JKOST_original” layer.
• Choose Layer > Smart Objects > Replace Contents, navigate to your cropped image, and choose Place.
• Voila! All copies of the original image are updated and are displayed with the appropriate LUT (through the magic of Smart Objects).
Note: The Mac operating system includes 6 Abstract profiles (Black & White, Blue Tone, Gray Tone, Lightness Decrease, Lightness Increase, and Sepia). The last row of images in the “LUTimage_replace.psd” image (Abstract Mac) show these profiles. Windows users will be able to see the LUT in this file, and the profiles will display in the Abstract list for this file, but the 6 profiles will not be available in the Abstract list to apply to other images.
If you have your own LUTs, you can copy them here to have them appear in Photoshop’s Color Lookup adjustment layer’s options:
• Abstract and Device Link profiles are stored in Library > Application Support > Adobe > Color Profiles.
• The 3DLUTs are stored in Applications > Photoshop CS6 > Presets > 3DLUTs.
Because this feature was designed for the film and video industry that have their own LUT files, there currently is no way to create LUT files in Photoshop. You can currently, create LUTs in products such as Adobe SpeedGrade CS6. If you would be interested in such a feature within Photoshop, then we could consider it in a future release. I would suggest posting your comments/requests to one of these locations:
Sometimes it’s easier to make a selection of an object if the contrast between the subject and the background is greater. In order to temporarily add more contrast, try adding an adjustment layer (such as Curves or Levels), and boost the contrast significantly. Then, then make the selection and, when finished, discard the adjustment layer.
In a recent presentation I was asked to share some “lesser” known features from Photoshop CS5. I have noted all of the following in my blog at some point, but here are a dozen of my favorites all together:
1) Changing Brush Size – With a painting tool selected, Control + Option (Mac) – drag left/right in order to decrease/ increase brush size. To decrease/ increase brush hardness, drag up/down. On Windows, Shift + Alt -drag left right to decrease/ increase brush size and up/down decrease/ increase brush hardness.
2) On Screen Color Picker – To access the new HUD color Picker, with a painting tool selected, Control + Option + Command (Mac) -click and drag to select a color. On Windows, Shift + Alt + right-click and drag to select a color. Or, if that shortcut is too much to remember, to display the color picker using a keyboard shortcut, choose Edit > Keyboard Shortcuts. Under the Shortcuts for “Tools” scroll to the bottom to locate the “Foreground Color Picker ” line item and enter in your own custom keyboard shortcut.
3) The Eyedropper Tool – Clicking in the image area with the Eyedropper tool now displays a sample ring. The “new” color (the one being sampled) is displayed in the upper half of the ring while the current (or foreground color before sampling) is displayed in the bottom half. The ring is surrounded by grey to help neutralize surrounding colors that may influence color choices. The sample ring can be toggled off/on by unchecking/checking Show Sample Ring in the Options bar. Or, if you’re an avid user of Tool presets, make one with the ring turned on, the other with it off. In addition Control (Mac) / Right Mouse (Win) -click to select the Sample Size or Copy the Color as Hex Code or HTML
4) Scrubby Zoom – With the Zoom tool selected, click-drag to the right to zoom in, click-drag to the left to Zoom out. This new feature adds the benefit of being able to quickly zoom in AND zoom out to a specific location, however, if you prefer the legacy behavior (click-drag over the area to zoom into), disable Scrubby Zoom in the Options Bar. In addition, when viewing multiple images simultaneously, Shift -drag with the Hand tool to pan all open documents. Similarly, shift -clicking with the Zoom tool will zoom all images simultaneously. To set this as the default behavior, with the Zoom or Hand tool selected, check the “Zoom all Windows” and/or “Pan all Windows” in the Option bar.
5) Saving 16 Bit Images as JPEG – If you’re working with 16 bit files and want to save them as a JPEG, you can now select the JPEG file format from the list in the Save As dialog box. However, you need to know that saving as a JPEG will convert the file from 16 bit down to 8 bit (as the JPEG file format does not support 16 bit). Note: it is also important to note if you’re saving a layered file as a JPEG, Photoshop will flatten the file as the JPEG file format does not support layers.
6) Saving Files to Their Original Folders – By default, when saving files, Photoshop will automatically navigate to the folder where the last file was saved. To save files to their original folder, select Preferences > File Handling > and check on the “Save As to Original Folder” option.
7) Auto-Select Parameter for Adjustment Layers – In order to automatically put the keyboard focus onto the first field in the Adjustment panel, use the fly out menu in the Adjustments panel, and select Auto-Select Parameter (this behavior was added as it is similar to the legacy way of working with image adjustment dialog boxes – as oppose to the adjustment panel). Return (Mac) / Enter (Win) + Shift is another way to put the keyboard focus onto the first field in the Adjustment panel. You can also use a keyboard shortcut to select the Targeted Adjustment Tool while using a Hue/Saturation, Curves, or Black & White adjustment layer, choose Edit > Keyboard Shortcuts. Under the Shortcuts for “Tools” scroll the towards the bottom of the list to locate the “Targeted Adjustment Tool” line item and enter in your own custom keyboard shortcut.
8)The Crop Tool Overlay – With the Crop tool selected, drag out the crop marquee and then, in the Options bar, choose Between Rule of Thirds, Grid or None for the Crop Guide Overlay. Note, you must first drag out the crop in the image area for this setting to appear in the Options bar.
9) Control Change the Opacity/Fill of Multiple Layers – Simply select multiple layers in the Layers panel and use the Opacity and/or Fill slider to change the Opacity/Fill of all selected layers at once.
10) Layer Styles – In order to customize the default Layer Style settings, select Layer > Layer Style (or click the fx icon at the bottom of the Layers panel). In the Layer Style dialog, make the desired changes, and click the Make Default button. If you make changes to the style and want to reset the changes to your custom default, click the Reset to Default button.
11) Panorama Stitching – When using the Auto-Align Layers command Photoshop now leverages lens correction profiles (if applied).
12) Non-rotating Brushes with Rotate View – When using the Rotate View tool to rotate the canvas for easier drawing and painting, the brushes will no longer rotate with the canvas rotation; instead they remain at the orientation of the original artwork regardless of the viewing angle.
In this Episode of The Complete Picture (Posterizing Images with Control and Flexibility) I will demonstrate how to reduce the color palette of an image to create a posterized effect with the most control and maximum flexibility possible.
A great way to ensure that a change you make to an image is only affecting the tonal (not color) values is to set the blend mode to Luminosity. For example, if you have an area in an image that is too dark and you want to lighten it without changing the colors, add a Curves Adjustment Layer and set the blend mode to Luminosity. Then raise or lower the curve as necessary – without affecting the color values. This can be especially helpful when dodging or burning skin-tones. If you want to affect the colors and not the tonal values, simply change the blend mode to color.
Layer Groups have a unique blend mode called Pass Through which is only visible when a Layer Group is targeted in the Layers panel. It allows any adjustment layers, blend modes, advanced blending options, opacity and fill values applied to layers within a Group, to affect layers below the Group in the layers panel. To restrict the blending of layers to only happen within a Group, change the Layer Group’s blend mode to Normal.
The sixth group of Blend modes have no neutral colors. They work in a hue, saturation, luminance space that is similar to but different from both HSB and HSL. In particular, while hue is the same in all three spaces, all of the spaces define saturation and brightness/lightness/luminance somewhat differently. All of the combinations described below are subject to clipping to keep the values in the valid RGB range.
• Hue – Creates a result color with the luminance and saturation of the base color and the hue of the blend color.
• Saturation – Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area that has no (0) saturation (gray) causes no change.
• Color – Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images. Color yields a result with the same hue and saturation as the upper color and the luminance of the lower color.
• Luminosity – Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode is the inverse of Color mode.
One of the common uses of the Color blend mode is for selective coloring effects using the painting tools, gradient fill layers and layer effects. For example, you can select the paint brush, set its blend mode to color and paint directly on an image (but this isn’t very flexible if you make a mistake). For more flexibility, you can choose to create a new layer and set it’s blend mode to Color and set the paint brush’s blend mode to Normal to paint any part of an image.
Difference, Exclusion and Subtract have a neutral color of black. This means that black as a blend color will have no effect on the result color. The Divide blend mode has a Neutral color of white.
• Difference – Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values.
• Exclusion – Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base color values. Blending with black produces no change. The effect is a bit like using one image to solarize the other.
• Divide and Subtract – Both are intended for us with calibrated imaging however interesting creative effects are also possible. For astronomy and microscopy: you want to subtract background values (dark frames, factoring out hot pixels, etc.), and divide by a flat field image (removing vignetting and other lens defects, bringing insensitive pixels back up to normal range, etc.). You can remove lens falloff even if you have something that Lens Correction can’t handle (like mirror lenses, dust on the lens, etc.). Of course you can also use them for HDR toning tricks (or experimentation). Martin Evening has posted an excellent tutorial on these two new blend modes. Click here to read more…
The fourth group of Blend modes have a neutral color of 50% gray. This means that 50% gray as a blend color will have no effect on the result color. All of the light modes (except for Hard Mix) lighten when using colors brighter than 50% gray and darken when using colors darker than 50% gray. This happens on a channel-by-channel basis so they can actually both lighten and darken at once.
• Overlay – Multiplies or screens a scaled version of the blend color into the base color based on whether the lower color is darker or lighter than 50% gray. Colors darker than 50% are multiplied, colors lighter are screened. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced but is mixed with the blend color to reflect the lightness or darkness of the original color.
• Soft Light mode – Darkens or lightens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white. It uses gamma adjustment s to darken or lighten. The effect is similar to shining a diffused spotlight on the image.
• Hard Light – Multiplies or screens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white. The effect is similar to shining a harsh spotlight on the image.
• Vivid Light – Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast. Vivid Light uses color burn and color dodge to darken or lighten.
• Linear Light – Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness. Linear Light uses linear burn and linear dodge to darken or lighten.
• Pin Light – Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. Pin Light uses darken or lighten modes to darken or lighten. This is useful for adding special effects to an image.
• Hard Mix – Lighter colors lighten the result. Darker colors darken the result. Lowering the fill opacity creates less posterization/thresholding.
The third group of Blend modes have a neutral color of black. This means that black as a blend color will have no effect on the result color. These blend modes all have stronger effects as the blend color becomes lighter. Using the Fill slider on Layers palette and using blend modes from this group may modulate this effect rather than performing a simple opacity blend the way normal mode does. The lightening modes are essentially the inverses of the darkening modes.
• Lighten – Looks at the color information in each channel and selects the lighter of the base or blend color as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change.
• Screen – Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. The effect is similar to projecting multiple photographic slides onto the same screen. Screen reduces contrast and can produce and effect similar to painting an area with bleach.
• Color Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing the contrast. Color Dodge is an exception to the neutral color rule in this group – it is the only lightening mode that preserves blacks. Color Dodge is similar to moving the input white triangle in Levels. As such, color dodge increases contrast but may clip the brighter portions of the lower colors to white.
• Linear Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Linear dodge is the combination of color dodge and screen. As such, it has a stronger lightening effect than either of them. Linear Dodge will clip bright values, unlike Screen.
• Lighter Color Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color.
The second group of Blend modes (Darken, Multiply, Color Burn, Linear Burn and Darker Color) have a Neutral color of white. This means that white as a blend color will have no effect on the result color (white simply disappears). These blend modes all have stronger effects as the blend color becomes darker. Using the Fill slider on Layers palette using blend modes from this group may modulate this effect rather than performing a simple opacity blend the way normal mode does. By definition:
• Darken – Looks at the color information in each channel and selects the darker of the base or blend color as the result color. Pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change.
• Multiply – Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. When you’re painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors, producing an effect similar to drawing on the image with multiple magic markers. Multiply is a bit like sandwiching two chromes and projecting them together.
• Color Burn – Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast. The result will always be darker and have more contrast.
• Linear Burn – Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness and – unlike multiply – it will clip values while doing so. It has a stronger darkening effect than either multiply or color burn. Linear Burn is a combination of color burn and multiply.
• Darker Color – Compares the total of all channel values for the blend and base color and displays the lower value color. Darker Color does not produce a third color, which can result from the Darken blend, because it chooses the lowest channel values from both the base and the blend color to create the result color.