Photoshop Cs4 Layers Book

The Adobe
Photoshop
CS4 Layers Book

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The Adobe
Photoshop
CS4 Layers Book
Harnessing Photoshop’s most powerful tool

Richard Lynch

AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD •
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© 2009, Richard Lynch. Published by Elsevier Ltd. All rights reserved.

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Library of Congress Cataloging-in-Publication Data
Lynch, Richard (Richard A.)
The Adobe Photoshop CS4 Layers Book : Harnessing Photoshop’s Most Powerful
Tool/Richard Lynch.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-240-52155-8 (pbk. : alk. paper) 1. Adobe Photoshop. 2. Photography—
Digital techniques.
3. Image processing—Digital techniques. I. Title.
TR267.5.A3L949 2009
006.686—dc22
2008051098

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-52155-8

For information on all Focal Press publications
visit our website at www.books.elsevier.com

09 10 11 5 4 3 2 1

Printed in Canada.

To Violet Tamburrino, who continues to add color to all our lives.

CONTENTS

Acknowledgments ............................................................................................................... xi

Introduction ..........................................................................................................................xiii

Chapter 1: The Basics of Layers: Layer Functions and Creation .................. 1
What Is a Layer? ...................................................................................................2
Layer Palettes and Menus................................................................................7
Types of Layers ................................................................................................. 13
Layer Viewing Preferences ........................................................................... 15
Getting Started Creating Layers................................................................. 16
Exercise ............................................................................................................... 20
Summary ............................................................................................................ 28

Chapter 2: Layer Management: Concepts of a
Layer-Based Work Flow .............................................................. 29
The Outline for Image Editing..................................................................... 30
Setup ............................................................................................................. 31
Capture ......................................................................................................... 33
Evaluation .................................................................................................... 34
Editing and Correction ............................................................................ 35
Purposing and Output ............................................................................ 35
The Logic of Layers.......................................................................................... 36
When to Create a New Layer ................................................................. 37
Naming Layers ........................................................................................... 37
Grouping Layers ........................................................................................ 42
Merging Layers .......................................................................................... 47
Moving and Activating Layers.............................................................. 51
Clipping Layers .......................................................................................... 52
Linked Layers .............................................................................................. 56
Smart Objects ................................................................................................... 60
Summary ............................................................................................................ 63

Chapter 3: Object and Image Area Isolation in Layers .............................. 65
Isolating Correction in Adjustment Layers ............................................. 66
Detailing the Levels Slider Changes................................................... 67
Applying Levels for Color Correction................................................. 70
Isolating Image Objects ................................................................................ 74

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Contents

Adding Layers for a Change ........................................................................ 81
Simple Layer Repair Example ...................................................................... 82
The Art of Color Balance ............................................................................... 86
Summary ............................................................................................................ 87

Chapter 4: Masking: Enhanced Area Isolation 91
Expanding on Process.................................................................................... 92
Clean Up ............................................................................................................. 93
Reducing Image Noise .................................................................................. 94
Enhancing Natural Color and Tone .........................................................102
Add Soft Focus ...............................................................................................105
Color Enhancements ....................................................................................110
Sharpen and Enhance Contrast................................................................111
Additional Manual Sharpening ................................................................115
Summary ..........................................................................................................118

Chapter 5: Applying Layer Effects 121
The Basics of Effects and Styles ................................................................122
Saving Styles .............................................................................................127
Managing Styles ......................................................................................129
Manual Effects ................................................................................................130
Automated Manual Effects Tools .............................................................132
Combining Manual Effects and Styles ...................................................134
Summary ..........................................................................................................140

Chapter 6: Exploring Layer Modes 143
Layer Mode Behavior ...................................................................................144
Normal ........................................................................................................145
Dissolve ......................................................................................................146
Darken.........................................................................................................146
Multiply.......................................................................................................147
Color Burn ..................................................................................................147
Linear Burn ................................................................................................148
Darker Color ..............................................................................................148
Lighten........................................................................................................148
Screen..........................................................................................................149
Color Dodge..............................................................................................149
Linear Dodge ............................................................................................150
Lighter Color .............................................................................................150
Overlay ........................................................................................................150
Soft Light....................................................................................................151
Hard Light ..................................................................................................151
Vivid Light ..................................................................................................152
Linear Light ...............................................................................................152
Pin Light .....................................................................................................152
Hard Mix .....................................................................................................153

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Contents

Difference ..................................................................................................153
Exclusion ....................................................................................................153
Hue ...............................................................................................................154
Saturation ..................................................................................................154
Color ............................................................................................................154
Luminosity .................................................................................................155
Separating Color and Tone ........................................................................156
Sharpening Calculation...............................................................................162
Summary ..........................................................................................................166

Chapter 7: Advanced Blending with Blend If 169
Blend If: An Overview ..................................................................................169
Knockouts ........................................................................................................177
Blend If in Compositing...............................................................................179
Blend If as a Mask ..........................................................................................190
Creating a Color-Based Mask ....................................................................191
Summary ..........................................................................................................199

Chapter 8: Breaking Out Components 201
A Historic Interlude .......................................................................................202
Creating Color from Black and White .....................................................202
An Alternative: Creating Filtered Color..................................................211
Separating a Color Image into RGB Components .............................216
Using Separations .........................................................................................221
Summary ..........................................................................................................226

Chapter 9: Taking an Image through the Process 229
The Image.........................................................................................................230
General Image Editing Steps: A Review ................................................231
Applying the Image Editing Checklist ...................................................232
Summary ..........................................................................................................254

Chapter 10: Making a Layered Collage or Composite Image 257
What Is a Collage?..........................................................................................258
Guidelines for Collage .................................................................................258
An Example Collage .....................................................................................259
Creating a Panorama....................................................................................262
Working with HDR Images .........................................................................264
Making an HDR Image ..........................................................................265
Create an HDR Image in Photoshop ................................................266
Automated HDR Conversions.............................................................268
Manual HDR Conversions ....................................................................269
Summary ..........................................................................................................273

Photoshop’s Essential Tools List ................................................................275
Exploring New Tools .....................................................................................276

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Contents

External Applications ...................................................................................277
Commands ......................................................................................................278
Functions ..........................................................................................................278
Freehand Tools ...............................................................................................281
Filters..................................................................................................................281

Index ............................................................................................................285

x

ACKNOWLEDGMENTS

F ocal Press is to be commended for their excellent work and dedication to
authors. A sincere thanks to my publisher. Though the crew has changed,
the excellent staffing continues, and the book-writing projects that I was
all but ready to abandon because of previous publishers continue with
Focal Press. Thanks especially to Danielle Monroe, who measures time with
patience. Thanks as well to Kara Race-Moore for her excellent detailed work.
Thanks to Ben Denne for making sure we stayed on course, and to all the
others who previously helped me on my way at FP, including Paul Temme,
Emma Baxter, and Asma Palmeiro.

Thanks to the management at betterphoto.com, who established my online
courses, especially Jim Miotke and Kerry Drager. And thanks to the hundreds
of students who keep my eye on the ball as to what people learning the
program really need (and not just what is conceptually cool).

More thanks to those few trusted friends in the business: Greg Georges
(gregorygeorges.com) and Al Ward (actionfx.com), Todd Jensen
(thefineartoriginals.com, toadprint.com), Fred Showker (60-seconds.com),
Barbara Brundage, and Luke Delalio (lukedelalio.com).

Unbridled thanks to the home base for their patience, ability to plan around,
competence in objectively ignoring, and occasional input and inspiration:
Lisa, who is as delicious as her meals; Julia, whose spirit manifests in
spectacular ways that I hope to grow to understand; Isabel, who always has
a kind word for my most awful images; and Sam, whose bellows in the night
break glass.

Special thanks … Mitch Waite, Stephanie Wall, Beth Millett, Bonnie Bills, Pete
Gaughan, and Dan Brodnitz (see, it’s not all bad). And, of course, Robert Blake
for the “F”.

Thanks to nameless others, named here, who affect things in ways they
cannot know: Alan R. Weeks, Kevin Harvey, Larry Woiwode, Tony Zenos, Joe
Reimels, Hagen-Dumenci, Dr. Fun, Murphy (1988–2007), AT, VDL, VOL, TV, SB,
P-G, TC, DL, JK, and various Lynches, Nardecchias, and Hongs.

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INTRODUCTION

I f you’ve picked up this book, you are familiar enough with Photoshop to
know layers are important, and smart enough to know they can help you
improve your images. I’ve been using layers for about 15 years, but I can still
remember how I worked before I was introduced to them and found out what
they could do for me.

Sometime in early 1993, just before I was introduced to Layers, I was working
for a how-to photography book publisher as an editor/designer. We had
Photoshop 2.5. I used Photoshop to make adjustments to scanned images
and make them ready for print. Photoshop was fairly new at the time; it didn’t
yet have all of the features that would, not much later, make it the industry
standard in image editing. One of the features yet to be adopted was layers.

The project I was working on included topographic maps for a book on
waterfalls. The book had been self-published by an author who added the
maps to the book to give the reader an idea of the landscape around each
of the falls. The author had public domain maps scanned and placed in the
book at the original size. At that size, the maps accounted for the bulk of
the original book. We made the decision to reduce the size of the maps to a
single page in the reprint to save space and make the whole landscape visible
at a glance while saving some money in production costs. Regrettably, the
author had the original maps, but not the image files from the scans. We had
to rescan the maps for the new book. In line with saving costs, we decided to
scan the images in-house.

It seemed scanning the maps should have been easy. The maps were way too
big for the flatbed scanner we had, but I figured I could scan the maps in parts
and put them together in Photoshop. I fit as much of a map as I could onto
the scanner and scanned it in even columns and rows, leaving a little overlap,
saving the scans to separate files. I’d planned to assemble them all later in
Photoshop like a puzzle (see Figure I.1).

I made all the scans, then made a new image large enough to hold all the
scans, and then started placing them in the image one at a time via copy
and paste. Placing the first image was easy, and everything at that point was
working as planned. The next image wasn’t nearly as easy. The lines for the
topographic maps didn’t line up very well. I tried moving the image in all
directions and doing some rotation, but I couldn’t get all the lines to match up
at one time, no matter what I did or how I fussed. When I got the lines near the
bottom to align, the ones at the top would be off, and if I nudged right or left,
it would fix one thing and goof up something else.

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Introduction

(a) (c)
(b)

FIG I.1 (a) The topographical map was far too big to fit on the flatbed scanner. (b) The plan was to scan the map in pieces and fit them all together. (c)
When reassembled the new map would look like the original whole … at least that was the plan.

As it turned out, lining up the pieces of the map was a nightmare. I did the
best I could aligning that second piece, and finally decided it would never
align perfectly—it seemed I was a victim of scanner distortion in addition to
lacking perfect alignment between scans. When I deselected the pasted
piece, it merged with the original, misaligned gradation lines and all (see
Figure I.2). All I could do was Undo and try it again or move on to the next piece.
None of the subsequent pieces aligned perfectly, and I was left with many
disconnected gradation lines.

FIG I.2 The gradation lines
mismatched every time a piece was
put in place.

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Introduction

I continued putting the pieces together and after I was all done I went back
and painstakingly corrected every line by manually patching (a technique
we’ll look at later in this book). It took many hours of additional time to make,
finesse, and blend all of the repairs to make the gradation lines look right.
When I finished the first map, I went to work on the next map. It took weeks to
complete them all.

Several months after the map project, Adobe released Photoshop 3. I read
about the new version, which featured Layers as the key new addition. Layers
were a way to let you store parts of your image independently in the same
image, letting you stack your changes without committing them. Instead
of the situation you had before, in which selected parts of the image would
automatically merge into a single image plane when deselected, you had
the option of keeping the area separate. Layers offered the opportunity to
reposition the objects you had on separate layers at any time.

I thought back to the maps and how even that simplistic view of layers would
have saved me hours of time. I could have pasted the separate scans to their
own layers so I could move each independently even after I had all of the
scans in one image (see Figure I.3).

FIG I.3 Layers would allow image areas to remain separated as if each were placed on its own pane of glass in the image.

There were many other advantages to layers that I would discover in the
coming months that went far beyond the simple way I first thought of them.
I would have power over opacity and could lower it for any given layer (say,
to 50 percent) to see through to the content of the layers underneath and see
better how the layers might align. I would be able to erase areas of the map
that I was adding to blend the overlap optimally and with more forgiveness
and lessen or eliminate the need for patching. I could have made patches

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Introduction

for the gradation lines in new layers and greatly simplified blending in those
adjustments. In all, the advantages of layers would have cut the work I had to
do on the map by days, not just hours.

Over the years and through the next six-plus versions of Photoshop, I would
discover many other uses for layers, including:
●
Using layers to allow completely nondestructive image editing. Editing
images would never lead to loss of the original source.
●
Using layers as the center of the image correction work flow. Layers could
store every step in the editing process for later examination, changes, or
learning about techniques.
●
Using layers as an organizational tool for all corrections. Layers can be
grouped and structured to organize selective and global corrections.
●
Using layers to store multiple versions of an image all in one file. Various
versions of an image can be stored in separate groups so there is no
hunting for files or unnecessary file duplication.
●
Using layers to leverage advantages of other color modes without
converting from RGB (red, green, blue). Working on separate image
components does not require a mode change when you use layers to
isolate color and tone.
●
Using layers to create custom CMYK and duotone separations for print,
allowing ultimate flexibility and control of print results on printing
presses.
●
Using layers to mix channels and perform calculations. With infinitely more
flexibility than standard tools like Channel Mixer or Calculations, layers are
the ultimate in creating masks and black-and-white conversion.
●
Using layers for repeatable custom effects. Along with custom color and
tone adjustments, custom sharpening, soft focus, and other special effects
are all possible.
●
Using layers to enhance control of the application of any tool in
Photoshop. Filters, painting tools, and all adjustments can be masked,
moved, and applied in different modes and opacities.
●
Using layers for compositing images, creating panoramas, and extending
visual depth with high dynamic range (HDR) effects.

Layers has seen some enhancement, though it was remarkably well matured
in that initial release. Layer functionality then and now includes some
extraordinary powers that, even now, I have still barely seen mentioned in
tutorials and books and even then never explored to potential. In this book
we take a look at them all, and focus on those that you will find most useful
every day.

Layers—what I consider the most powerful tool in all of Photoshop, a feature
in Photoshop used so extensively that it will effect the correction of every
image—had never been the subject of a book until the first edition of this
book appeared in 2007. This is very surprising considering that more esoteric
features such as Channels and Actions have books written about them.

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Introduction

Every Photoshop book worth the paper it’s written on mentions layers, and
some have dedicated chapters to them, but no other book focuses on using
Layers as the core of your methodology for obtaining the best images, every
time, with the least amount of work. This book paved that new direction and
continues to lead the way.

The Goal of This Book
The goal of The Adobe Photoshop CS4 Layers Book is to give the reader a
complete approach to editing images using Layers as a springboard to better
corrections and a complete work flow. This book will show that layers are the
catalyst to organizing corrections, solidifying work flow (the holistic process
of editing images) and acting as the central component to controlling every
image change. Readers will learn professional correction techniques that are
viable in any image, and they will become familiar with the power of layers as
an organizational, correction, and revision tool. The ultimate goal is to portray
layers as the heart and soul of image correction and build a foundation of
good practices to help approach correction and enhancement of any image.
The book focuses on the correction of photographic images rather than using
layers for general graphics; the name of the program is, after all, Photoshop.
Although the focus is on image correction, the exploration of layer functions
and features is comprehensive.

Users need to understand how using layers can have an immediate, profound,
and long-term effect on the overall quality of their images. This book shows
not only the nuts and bolts of what layers do, but also how they envelop the
entire process of image correction and control.

Achieving the Goals
The process of discovering layers starts with the essence of learning what
layers are and exploring the Layers interface and commands in detail, then
works back through the application of layers in real-life image editing
situations using images found on the CD. The approach looks at the
fundamentals of images and image editing and shows how layers enable
users to make any adjustment to an image in a nondestructive fashion using
essential tools and concepts. Nondestructive techniques means enabling
users to make image changes that in no way compromise original image
information; layers build on top of the original source to alter it, rather than
changing it directly, which could lead to losing or permanently altering
valuable details.

The techniques provided in this book help you take your corrections to
a professional level without hocus-pocus or steps that are impossible to
comprehend and apply to your own images. You’ll see what happens behind
the scenes in step-by-step procedures, and when appropriate, you’ll be given
the tools—customized actions created just for this book—to move through
those steps quickly to set up image editing scenarios.

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Introduction

This book will divulge:
●
a process of approaching image corrections (a work flow) centered on
layered development with proven methods and a proven, core tool set;
●
high-powered editing techniques and scenarios that leverage the power of
layers to enhance your ability to make any image adjustment;
●
realistic image editing situations with real images by using realistic
expectations to get real results;
●
timeless techniques that span many versions of Photoshop based on good
core fundamentals and essential understanding that can be used with any
image.

The book will not:
●
show you fleeting techniques that emphasize the newest tools just
because they are new;
●
examine a plethora of rarely used tools in excruciating detail just because
they are there;
●
show you how to create effects that you may use once in a lifetime—if ever.

Who Should Read This Book
This book is for anyone who is serious about enhancing his or her Photoshop
skills and getting better results from all of his or her digital images. It applies
to those who use either a digital camera or a scanner with a Mac or PC.

Readers of this book should probably not be absolute beginners with
Photoshop. They should at least have dabbled in using layers, perhaps
knowing they could make more of them.

It is assumed that readers are familiar with the basic Photoshop tools (or that
they are competent to research these in Photoshop Help) and that they have
fairly good general computer skills (there is nothing here about program
installation, troubleshooting, or the like). This book is written for:
●
users who want to understand how to use layers optimally for
nondestructive adjustment and organizing image corrections;
●
serious hobbyists who want to get more from their investment in
Photoshop by leveraging the power of its most potent tool;
●
those with some Photoshop experience who are looking for an organized
approach to editing any image and getting consistently better image
results.

How This Book Is Organized
As you go through the book, you will discover a mixture of practical theory,
examples of the types of changes you’ll make in images daily, and projects
to work on to help you understand the process as well as why it works.
Projects are devised so that you see what goes on behind the scenes to help

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Introduction

understand what you have done, not so that you just complete an exercise
or press a button and ogle the result. When you understand concepts and
techniques, you can apply that understanding to other images predictably—
either by using tools provided to drive the processes or by manually applying
learned techniques.

The book helps establish a routine so that you set clear goals for editing your
images and establish a method of approaching your images consistently.
The examples provided ensure that you can see the changes when they have
achieved the desired result. This understanding will enable you to apply the
techniques you learn to other images so that your images can be improved
consistently.

In Photoshop, many tools and functions can be accessed by more
than one method. When following along with the book’s step-by-step
instructions, use the suggested steps for accessing the tools. Using other
methods may cause sequences to behave unpredictably. For example,
opening Levels with the keyboard shortcut (Command L/Ctrl L) will
open the Levels dialog box but will not produce an Adjustment layer,
and this can affect the outcome of a procedure that depends on the
Adjustment layers being created.

You will learn multiple color-separation methods to take apart image color
and tone, as well as different ways to isolate color components, image
objects, and areas. When you can isolate colors and image areas, you can
correct those areas separately from the rest of the image and exchange,
move, and replace elements to make better images. You can also effect
better blending between areas and make more realistic changes. Actions
included on the CD are introduced in the exercises and will reveal functional
scenarios that can be used with any image and simplify the process of
applying what you learn.

The chapters build from one to the next, each using some ideas from the
previous chapter(s), building to chapters that follow the image process
from beginning to end by using a single image. Chapters incorporate mini
exercises that invite the reader to “ Try It Now,” using a hands-on approach to
learning. All images used in these exercises are on the CD so the user can work
along, and in many cases completed samples, including the layers used and
developed in the steps, are also provided so that you can check your work.

No book of any length can completely explore every facet of every concept,
but it should give you a good idea of the possibilities. To that end, each
chapter ends with a segment that considers the implications of using the

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Introduction

techniques and concepts you’ve learned in that chapter. The purpose and
content of each chapter are listed below:

Chapter 1: The Basics of Layers: Layer Functions and Creation
Understanding how to work with layers starts with understanding some basics
about what layers are, what their capabilities are, what functions are in the
Layers palette, and how to locate all that you need to apply basic layer power.
Readers will explore the Layers palette, see how all the basic functionality
fits into the Layers palette and menus, learn how to create layers, access and
apply basic layer functions, and adjust the layer viewing preferences. We’ll run
through a hands-on no-knowledge-necessary example of using layers and see
some simple effects that can be achieved in the world of layers.

Chapter 2: Layer Management: Concepts of a Layer-Based Work Flow
Before readers really become enamored with layers, the flexibility that they
offer, and the organization they provide, they need to know their practical
application—and then how to use them most effectively. There are reasons
to create layers based in the scope of layer capabilities and the changes you
want to make; in a similar vein, there are reasons not to create layers, reasons
to delete or combine layers, and means of managing layer content such as
merging, linking, and grouping. Effectively managing layers and layer content
will help keep image corrections on track, will allow users the flexibility to
step back in corrections, and will also keep image file sizes from bulking up
unnecessarily. This chapter includes a brief discussion of layer types, such
as Type and Adjustment layers, linking, alignment, activating, deletes, and
duplication. Readers will test out all the layer creation and combining features
and will be introduced to the steps of a digital work flow.

Chapter 3: Object and Image Area Isolation in Layers
The core strength of layers comes from their ability to help you isolate change.
This chapter begins to look at how to isolate image areas effectively. Sure, you
can isolate areas with selection, but selection has disadvantages in that changes
are permanent and selected areas are only temporarily isolated, rather than with
layers, with which changes remain permanently isolated and can be adjusted.
Layers enhance your freedom to correct the image because once areas are
isolated, you can make adjustments and then fine-tune the adjustments in ways
that are impossible with simple selective change. We’ll look at using layers to
isolate image areas and objects using copy and paste and applying a simple
layered effect using layer styles and manual effects. We’ll also look at blending
layers using Opacity, compositing images, and controlling composition.

Chapter 4: Masking: Enhanced Area Isolation
Even more advanced means of isolating image areas in layers exist in the
form of masking. Masking is making adjustments to the visible image without
actually changing or removing image areas; areas are hidden, or masked, in
the image based on a masking component, which acts separately from the

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Introduction

pixels. We’ll look at masking as it applies to layer transparency, layer clipping,
Adjustment layers, and proper layer masks. We’ll use layer masking to paint in
effects, affect image sharpness selectively, and change image color selectively.

Chapter 5: Applying Layer Effects
With the ability to isolate image areas comes the advantage of applying
layer-based effects. We will look at the effect possibilities, practical uses, and
applications. We’ll consider the difference between Fill and Opacity, and
peek around the corner to Chapter 6 and revisit part of Chapter 1, looking at
creating layer effects using standard layers. Using concepts from Chapters 3
and 4 to isolate and mask image areas, we consider the advantage of creating
effects manually rather than using packaged effects.

Chapter 6: Exploring Layer Modes
People who get involved in using layer modes often just apply them willy-
nilly, like filters, and experiment till they see something that they like. There
is a better approach to layer modes: actually knowing what they do and
when they can be helpful. Not all layer modes are really useful for everyday
correction, but some are and they are very powerful tools. We’ll look at ways
that users can use layer modes every day for image enhancements and
improvements. Calculations help make simple separation of images into
color and luminosity components, which in turn allow a peek at what
modes do and allow useful change. Manual effects like dodge and burn,
image comparison, contrast enhancement, and more are all enabled by layers
and modes.

Chapter 7: Advanced Blending with Blend If
Photoshop has several advanced blending modes that allow users to
blend layers based on components/channels, qualities in the current
layer, and qualities in layers below the current layer. This capacity is mostly
encompassed by Blend If and component targeting. These powerful tools are
often great to use as adjuncts to more familiar layer tools, but we will explore
examples of more than one type, in practical examples that use Blend If for
image change. We’ll also load up some tools that make using Blend If an easy
part of everyday corrections.

Chapter 8: Breaking Out Components
As per the previous chapters we will look at ways to leverage the power
of layers to separate out image areas into RGB channels. These powerful
methods of separating images into components can lead to a plethora of
advantages in creating layer-based masks based on specific image qualities
and can open the door to a world of creativity in manipulating tone, color,
shape, and composition. Custom tools are provided for users to create
involved image scenarios that allow layer-based channel mixing of different
sorts and target tone and color change in a more powerful way than other
channel mixing options or controls offered as standard Photoshop tools.

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Introduction

Chapter 9: Taking an Image through the Process
Now that we have explored the parts of layers and what they can do, we will
look at applying layers as a complete process to an image from beginning to
end. This chapter offers the opportunity to review every preceding chapter as
part of an actual application in image correction, as we explore concepts and
changes in a single sample image. The sample offers the opportunity to create
focus on the work flow and process and instill the idea of outlining what to
do with an image before approaching corrections and shows how to keep
everything organized during the process.

Chapter 10: Making a Layered Collage or Composite Image
As an exercise in creativity and an opportunity to break out all the tools that
readers encountered in the course of this book, the final chapter is devoted to
exploration of compositing and collage work. The emphasis is on considering
the idea of collage, and then looking at how to expand your canvas and image
depth, working with panoramas and HDR images implemented using the
power of layers. Source images are provided from the examples in the book
for looking at panorama stitching, composites, and collage and rendering
an HDR image. Readers will be encouraged to exercise their layer muscles by
using techniques from previous chapters to make a creative collage from a
variety of source images and are invited to share those with other readers on
the photoshopcs.com web site.

The CD
One of the most important parts of this book is the CD. First, the CD contains
all the images from the book so that readers can work through the corrections
exactly as they are portrayed. Second, the CD contains a set of custom actions
that will help readers set up scenarios in their images and repeat long sets of
steps that are in the book but would otherwise be tedious to apply. To use the
actions and simplify procedures you’ll have to do nothing more than load and
run an action. These actions/tools are meant for readers of this book only and
should not be shared freely with other Photoshop users. The actions must be
installed into Photoshop via the Actions palette to be accessible (instructions
are included below and in the appropriate chapter). The CD, images, and
actions will operate on Windows and Macintosh computers.

To install the actions, first locate the Actions folder on the CD. Actions in this
folder can be dragged directly to the Actions palette in Photoshop, or they
can be loaded through the Load Actions function on the Actions palette
menu (see Figure I.4).

After you’ve installed the actions, you’ll be able to access them in the Actions
palette. Open the Actions palette by choosing Actions from the Window menu.
The usage of the actions is discussed in this book, and all are described in the
Readme file for the actions on the CD. Please make use of the web site for the
book and use the online forum to discuss any problems you may be having with
the CD. Find links for the forums on the web site: http://www.photoshopcs.com.

xxii

Introduction

FIG I.4 Open the Actions palette from the Photoshop Windows menu, then choose Load Actions from the
palette menu.

The images used as practice files in the book are provided on the accompanying
CD so that readers can work along with the exercises. They are mostly provided
as .psd files (Photoshop documents) or .tif files, but may be in other formats
as appropriate to a particular exercise. These images are copyrighted and for
educational purposes only; please use them only in the context of the exercises.
Work with the images by opening them with Photoshop directly off the CD, and
save them as you need them to your hard drive. The images are all compatible
with Macintosh and Windows computers.

Mac and PC Compatibility
The actions and images on the CD are completely compatible with Mac
and PC platforms, and they work in the same way within Photoshop across
platforms. The greatest difference a user will note in the book is that shortcuts
differ between Mac and PC. For example, to open the Levels palette on a
PC, the user would press the Ctrl L keys; on a Mac the user would press

xxiii

Introduction

the Command L keys (Command is sometimes known as the Apple key).
Keyboard equivalents on Mac and PC are:

Macintosh Windows Example

Shift Shift Shift X

Option Alt Option X/Alt X

Command Ctrl Command X/Ctrl X

Control click Right-click Control click/Right-click

All keystrokes are included in their entirety in the book, first Mac, then PC,
separated by a slash (/).

The Leveraging Photoshop Layers Blog
The Leveraging Photoshop Layers blog (web log) is like a newsletter that helps
keep you up to date on frequently asked questions, tips, and troubleshooting,
as well as topics of interest (recent postings before the publication of this
book centered on topics of color management). I post the blog so that
anyone can read it. Subscribers get notified of all updates and new articles.
Subscription is free, and the content is always available online. The frequency
of posts and updates will be at least every two months, but may be much
more frequent depending on activity on the web site. There are several ways
to subscribe. You can sign up on the web site for the method that best fits
your needs (http://www.photoshopcs.com) or you can subscribe with feed
subscription services (e.g., http://www.feedblitz.com), RSS, or Atom reader.

Changes to Layers in Photoshop CS4
Several changes to CS4 have affected the use of layers, though core
functionality remains mostly the same. Features that affect layers include:
●
Adjustments palette shows settings for adjustments instead of floating
dialogs;
●
Masks palette for creating editable, feathered, density-controlled masks.

The Adjustments palette does not directly affect the performance of layers,
but it does change the work flow some. You’ll find you want to keep the
Adjustments palette in a prominent place, like you might keep the Info or
Layers palette, so that it will always be in view—or else you won’t have a way
to view your Adjustment layer settings!

The Masks palette offers some excellent control for masks that goes beyond
the call of standard masking. You can blur for blending without affecting the
content of your masks, and this can be readily substituted for any blurring
mentioned in the exercises in the text.

xxiv

Introduction

Contacting the Author
I have been in the practice for years of supporting my books through the
Internet via my web sites and forums and through email, which is not a
common practice of authors—though it should be. I visit my sites and various
forums online regularly. I am glad to answer reader questions and consider it
an opportunity to add to explanations in the book and note areas that could
use enhancement in future editions.
On the site, I keep a blog to keep readers abreast of questions that I get asked
and answered, and I post errata (or a list of any errors and typos found after
publication). I have also added a forum since the last version of the book and
welcome discussion there. All this is meant to help you through any troubles
you might have with the book and techniques. I provide these resources so
that you can get legitimate answers direct from the source, rather than having
to fish around in other forums or on other web sites where there is likely no
one who knows the materials better than I do. However, you’ll need to seek
me out, as it is much more difficult for me to find you. If you have questions, it
is likely that other people will have those same questions, too. Please feel free
to ask as the need arises. Use the forums at photoshopcs.com.

To catch up on any information having to do with this book, please visit the
official web site: http://www.photoshopcs.com. You will find links there to all
the resources (forum, blog, troubleshooting, errata, etc.). Although you should
visit the web site first as a primary resource, readers can also contact me via
email using the following addresses: rl@ps6.com or thebookdoc@aol.com.
Depending on volume, I respond personally to email as often as possible, and
I look forward to your input.

xxv

CHAPTER 1

The Basics of Layers: Layer
Functions and Creation
For some reason, no one ever wants to be a beginner. It is as if some
shame is attached to not inherently knowing the basics, even if you
have never done something before. Many students in the Photoshop
courses that I teach online assume they aren’t beginners, and they jump
into courses that are over their heads, for fear of the stigma of being a
beginner. But everyone at one time or another is a beginner, and even
savvy users sometimes learn from going over the basics.

W orking with Layers starts with understanding some basics about layers,
what they do, and how to locate all the functions. In this chapter we
explore the Layers palette, see how all the basic layer functions are situated
in the Layers palette and menus, learn how to create layers, apply layer
functions, and use viewing preferences. We’ll run through a hands-on
no-knowledge-necessary example of using layers and see some of what layers
can do. This chapter will help make sure we are all starting off with the same
basic understanding of and familiarity with layers. With that introduction
under our belt, we can look forward to applying layers to images.

1

The Adobe Photoshop CS4 Layers Book

Please note that although this book will look at many tools and
features, it will focus on the explanation and exploration of using
layers. Photoshop Help can provide more depth or information about
tools and their applications not provided by the text of this book.
To find Photoshop Help, click Photoshop’s Help menu and choose
Photoshop Help, or press Command / or Ctrl / (Mac or PC).

What Is a Layer?
Images are usually considered to be two dimensional. That is, when images
get printed on a piece of paper or displayed on a screen, they have a height
and width only. Although there may be an appearance of depth, there is no
actual depth. The images are flat, and they lack that third dimension.

Whenever you view images fresh from a digital camera, the image is flat
and two dimensional on your screen. This is true, even though the color
image is actually stored as separate red, green, and blue (RGB) grayscale
components in the file (see Figure 1.1). The components of your RGB image

FIG 1.1 Though your color RGB images have separate red, green, and blue components, they appear as a single 2D composite color image on screen and
in print.

2

The Basics of Layers: Layer Functions and Creation

are combined by the computer when the image is displayed, and the result
is a two-dimensional color image rendered on your computer screen in full
color. That is, several components (in this case the red, green, and blue light
components) are combined to produce the color result.

In a similar way, multiple layers can combine and still result in a two-
dimensional image. Layers act as additions to your image that overlay one
another as you add them to the layer stack (see Figure 1.2). These additions

FIG 1.2 The “layer stack” is the layers in the layers palette. All the layers combine to form the 2D composite you see on screen and in print.

3


are full color as opposed to the grayscale RGB components. When an image
with layers is displayed in Photoshop (or Elements and other programs that
can recognize images stored with layers) the result is still a two-dimensional
image made from a composite of the layers (see Figure 1.3). Each individual
layer stores complete RGB color that combines in two dimensions, as if you
were looking down through the layers from the top of the layer stack.

Adobe called the virtual stacking of images “layers” because they act like
a layered stack of transparent images. New image content is added to the
original image and creates adjustments contained in distinct layers, building
on changes over the original image content. Layer additions make change
happen without changing the content below the new layer, and that is
known as “nondestructive” editing: pixels from the original layers are virtually,
rather than actually, altered. This ability to make additions to the image in
layers keeps changes and alterations more fluid and movable, allowing you
to finesse and sculpt the image result without “destroying” original image
information.

Let’s take a quick look at what this means in Photoshop by making a change
to an image and experimenting a little with the advantages offered by layers
first hand.

During Try It Now exercises, refrain from exploring palettes
and images and taking detours from the steps as you are working
through the exercise. I know it is easy to get distracted by shiny things.
Clicking here or there during the steps may easily cause the step-
by-step procedures to fail if you don’t know what you are doing or
how to return to the exact state of the image before your distraction/
exploration. Explore after you’ve achieved success with the steps the
first time. If it doesn’t work the first time, give it a second try!

Try It Now
1. You could use any flattened image for this exercise, but open Sample_
1.psd on the CD included with the book (see Figure 1.3).
2. Choose the Paint Brush tool from the Tool palette, or press B on your
keyboard to select the Paint Brush tool.
3. Set your Brush options to a 100 percent hard brush, 20 pixels in
diameter. Be sure the Flow and Opacity are 100 percent and the Mode
for the brush is Normal (see Figure 1.4).
4. Create a new layer in the image. To do this choose Layer New Layer
from the Layers menu at the top of the Photoshop program screen.
The New Layer dialog will appear. Change the Name from Layer 1 to
MyName, and click OK, leaving the rest of the defaults as is. A new
layer will appear in the Layers palette, named MyName. (If the Layers

4


palette is not showing on your screen, choose Layers from the Window
menu. You will see a thumbnail, or smaller view, of Sample_1.psd in
the Layers palette.)
5. Use the brush to write your name quickly in script right across the
image by clicking and dragging the brush right on the image (see
Figure 1.5). Your attempt at writing your name will come out on the
MyName layer in the Layers palette.
6. Choose the Move tool by pressing V on your keyboard. Check the
Options bar and be sure the Auto-Select box is not checked.
7. Click and drag on the image in a circle.

FIG 1.3 Sample_1.psd.

FIG 1.4 Open the Brush options
shown here by clicking the brush in
the Options palette at the top of the
Photoshop program screen.

5


FIG 1.5 Your script may not be so
neat depending on how comfortable
you are with your input device, but
neatness is not important for this
example.

What should happen is that your name should move around the image
without affecting the original background. You can move the signature
wherever you want. Though we won’t go this far right now, you could distort,
rotate, and resize the signature without directly affecting the image below, as
it remains in its own layer. If you shut off the view for the MyName layer (click
the eye icon to the left of the layer in the Layers palette), you see the original
image with no change. This is the core of nondestructive editing: image
changes remain isolated from the original layer. But now let’s be a little more
destructive and see what happens without layers to compare the difference.

8. Press Command E/Ctrl E (Mac/Windows). This will merge the
MyName layer with the Background.
9. Choose the Move tool by pressing V on your keyboard. The settings
should be the same as in step 6.
10. Click and drag on the image in a circle.

You’ll find you can’t move the signature. This is a layer property of the
Background—it is locked and will not move. You have to double-click the
layer in the Layers palette (right on the thumbnail), and that will convert
the Background to a layer (accept the defaults in the New Layer dialog that
appears by clicking OK). Once you do that and try to drag the signature again,
you’ll drag the whole image. If you try to shut off the view you shut off the
whole image. All parts of the image, at this point, have combined. In essence,
that is Layers in a nutshell: you have separation between the correction and
the result, and you can separate them at any time. This ends up being a huge
advantage in editing your images. Layering allows you to work on distinct
image areas while retaining new image information separately in new layers
and original information in the Background below. This ability to retain
original image information while building in changes separately is known as
nondestructive editing; you retain the original image information undisturbed
as you make changes by adding image layers. Each change is incorporated as
if it were made on a transparent sheet over your image that can be removed

6


or reordered. The layers are stored separately in the working image file and
when saved to layer-friendly formats (TIFF, PSD, PDF). During editing, layer
content can be viewed and managed using the Layers palette (see Figure 1.6).

FIG 1.6 To open the Layers palette,
choose Layers from the Window
menu or press F7 to toggle the
Layer palette view.

Create layers as needed, for infinite adjustments to your images, and store
them with the image. When needed, copy layers within the current image and
to other images. At any time, they can be adjusted and revisited for further
changes. Each layer is a distinct visual object that can fill the entire image
plane, though the visibility of individual layers and layer content is affected by
layer properties such as Mode, Opacity, Masking, Clipping, and Visibility. These
give the user flexibility in incorporating layer content.

Whereas the basic functionality of layers simply allows you to keep image
content and changes separate, the separation allows you the advantage of
customizing how image areas combine. Control gives you advantages that
allow you to achieve results that would otherwise be impossible or extremely
difficult in an image without layer capabilities. Each of these capabilities will
be explored through the examples and exercises in this book.

Layer Palettes and Menus
One of the keys to making use of layers is using layer functions. The bulk of
the layer functions are found between the Layers palette, the Layers palette
menu, the Layer menu, and Layer Style dialog.

7


NOTE: Menus are listings of functions and features by name
that can be selected with a click. These menus may be on the main
program menu bar, but they may also be attached to palettes or other
menus as submenus. Palettes (and dialogs) differ from menus in that
they are floating windows that may have buttons or other graphical
interface options that go beyond just a listing of features by name.

The Layers palette (see Figure 1.7) is really a command center for controlling
layer views and how layers combine. Open the Layers palette by choosing
Layers from the Windows menu.

FIG 1.7 This diagram outlines the major features found on the Layers palette. Keep in mind where this is for
referencing features.

Simple buttons on the palette allow you to access many powerful features at
a click. For example, you can toggle the visibility for individual layers on or off,
add effects, create new layers, duplicate layers, and delete them. Other button
features allow you to lock layer transparency, color and transparency, position,
or the entire content of the layer (transparency, color, and position). For a
listing of Layers palette features see Table 1.1.

8


TABLE 1.1 Layers palette features.

Icon Button Function

Minimize Palette Toggles the palette to expanded/
collapsed views. Behavior varies
depending on whether the palette is
docked or floating.

Close Palette Available on floating palettes only.
Closes the palette.

Blending Mode Blending Mode allows selection of
modes to control how layers interact
with layers below.

Layer Opacity Opacity controls the transparency of
the entire current layer from 0 to 100%.

Layer Fill Similar to Opacity. Fill affects only the
content of the layer; layer styles are not
affected.

(Continued)

9


TABLE 1.1 (Continued)


Layers Palette menu Accesses the context-sensitive Layers
palette menu. Items available on the
menu vary depending on the currently
active layer(s).

Lock Transparent Pixels Locks layer pixel transparency. Restricts
change to color/tone only.

Lock Image Pixels Locks layer pixel transparency and
color/tone.

Lock Layer Position Locks layer position. Transparency
and color/tone can still be changed or
adjusted.

Lock All Locks transparency, color/tone, and
position of layer content.

Layer Visibility Toggle Shows/hides the content of the
associated layer.

Link Layers Allows layer linking. Linking allows
movement or transformation of the
content of more than one layer at a
time. Will also maintain alignment
between linked layers.

10




Add Layer Style Allows users to add a layer style to the
active layer by selection from the Layer
Style menu.

Add a Mask Adds a layer mask to the active layer
if there is not one. If there is already a
layer mask, adds a vector mask. If there
are both or the layer is a Background
layer, this is disabled.

New Adjustment Layer Adds a new Adjustment layer to the
image based on selection from the
menu that appears.

(Continued)

11




Create a New Group Adds a new empty layer group above
the active layer if clicked. If layers are
dragged to the button, a new group is
created with those layers in it.

Create a New Layer Adds a new blank layer above the
currently active layer when clicked. If
layers are dragged to the button the
layers are duplicated.

Delete Layer Deletes active/selected layer(s) when
clicked. Layers dragged to the button
are deleted.

Resize Palette Click and drag on this to change the
size of the Layers palette.

Photoshop’s Layers palette menu and the program’s Layer menu share much
of the same functionality, with a few exceptions depending on the current
editing task. Both menus are context sensitive, meaning that available
functions appear depending on what features can logically be applied.
Options are grayed out when not available. Although functions on the menus
represent many of the same things, accessing those functions in different
ways may affect how layers are created and handled in the image.

It is not necessary to memorize all the functions and menus; there will be
layer functions you rarely use and those you will perhaps never use. Those
you use frequently will become automatic and are likely already attached
to shortcuts that you will learn out of habit. The graphic reference to the
functions (Figure 1.7) will prove to be a handy guide if you are not very familiar
with layers. What is more important than memorization is to know what type
of functions are available and generally where they can be found and what
type of access the program provides to those functions. That way even if
you don’t know the exact tool or function, you at least know where it can be
located. Rolling over tools and icons on the palettes in Photoshop will reveal
tool tips that name the item/function, and using these actively in the program
as you edit will help you become familiar with all the functions in context.

There will be occasional mention of version-specific features in
exercises (including features in newer Photoshop versions); however,
in most cases if you are using an older version of the program or even
Photoshop Elements, it will not have an impact on your work with
images or completion of the exercises in this book or use of the book’s
techniques.

12


Types of Layers
There are several distinct types of layers that can be created in your images.
All layers are visible in the Layers palette, though some (Adjustment layers,
Type layers, and layer groups) are represented by icons. The types of layers are
listed in Table 1.2.

TABLE 1.2 Types of layers.

Layer Type Description Comments

Background layer Specialized content layer that is the Background layers have little to do
dedicated background for the image. with the photographic notion of
The bottommost layer of an image; “background” in that the content
the result of a flattened image. These is not necessarily just image
layers are always locked, have no background information and
mode, and are always 100% opaque. shouldn’t be assumed to isolate this
Can be converted to a regular layer by image area. Most images start with
double-clicking. just a Background layer.

Type layer Specialized content layer that The editable type in a Type layer is
contains editable type. Type layers are what sets it apart. Once a Type layer
automatically added by application is rasterized (turned into a bitmap)
of the Type tool by clicking on the it becomes like any other content
image or clicking and dragging (to layer—it just happens to be in the
form a type box). Type layers can be shape of type, type that isn’t editable,
masked, used with applied blending but has other advantages.
modes, and varied in opacity/fill.

Fill layer Layers that apply color fills, gradients, Fill layers are closely related to
or patterns. These are created using Adjustment layers and Type layers.
the Layer New Fill Layer submenu. They have content (color, gradient,
Fill layers can be masked, used with pattern), which makes them distinct
applied blending modes, and varied from Adjustment layers, yet the
in opacity/fill. Because they contain content can be edited only through a
content, they can be converted to a dialog, which makes them much like
Background layer. Adjustment layers.

Adjustment layer A layer that applies a specific function Adjustment layers have no content of
to underlying layers in the layer stack. their own. They represent calculations
These are specific functions created and are very useful for applying
using the Layer New Adjustment nondestructive adjustments in the
Layer submenu or by clicking on a form of levels corrections, color
Create button for a specific Adjustment balance, hue/saturation, etc., all of
layer type in the Adjustments palette. which can be adjusted or undone at
Adjustment layers can be masked, any time during editing. All Adjustment
applied using layer modes, and layers can be masked as well to provide
varied in opacity/fill. They cannot be control over how the adjustment is
converted to a Background layer. employed in a given image.

(Continued)

13



Layer Type Description Comments

Layer Groups A folder in the layers structure that Originally introduced as Layer Sets with
can be used to group layers (or other Photoshop 7, the name was changed
groups) and is an organizational to Groups with Photoshop CS.
tool. Grouping allows all layers in the A Group can denote an organizational
group to be treated like a unit so that vehicle (grouping a set of changes)
they can easily be moved, viewed/ or be a means of controlling a set of
hidden, or masked as one. Groups can layers as one unit. This is the only layer
be created and yet contain no layers in the Layers palette that may have no
that will affect change. content whatever.

Clipping layers, Clipping layers are made up from One of the least well-defined
Clipping group, at least two layers that have been common layer functions. I find it the
Clipping mask grouped using the Create Clipping most useful quick-targeting feature
Mask feature. The bottommost layer in in Photoshop Layers functionality.
a clipping group acts as a Background Allows users to mask instantly any
layer for the entire clipping group. The layer with the solidity of another.
solidity of the Clipping layer controls Once you start thinking in layers, this
what is revealed in the layers that are is an oft-used tool.
clipped (added to the clipping group).
These work like cookie cutters for
which the bottom layer is the mold.

Smart Object Smart Objects group layers together An interesting use of Smart Object is
and save the object (one or more to have consistent graphic elements
layers) in another image (PSB file in several images, such as doing
type) that is referenced by the current portraits for a Little League team
image. This can reduce image file size, where the look of each card is the
but may be more useful for updating same. You can create the graphic card
several files at once. component, then save it and import it
to multiple images.

Video layer Allows incorporation of video clips Added in Photoshop CS3. Not terribly
into images. Works much like a Smart useful for image editing.
Object referencing an external video
file.

The distinction between Background and normal layers is an important
one. Background layers serve a distinct purpose as the base for your images
while simultaneously losing a lot of the functionality of free-floating layers.
Certain tools will behave differently when applied to Backgrounds and other
tools cannot be applied at all. For example, the Eraser tool will erase to the
Background swatch color rather than transparency as it would in other layers.
You cannot apply a layer mask to the Background layer.

The above reference is just a quick look at the vast capability of layers. Hands-
on experience with layers in realistic situations will familiarize you better with
how to look at and control layer content and the advantages they provide

14


for editing images. That is the purpose of the rest of the book. Before getting
into creating your first layers, let’s take a quick look at controlling what you
see on the Layers palette by reviewing layer viewing preferences, and then
we’ll practice making a few layers.

Layer Viewing Preferences
Layer viewing preferences determine how you see thumbnails in the Layers
palette. Set these preferences on the Layers palette menu. To get to the Layers
palette menu, open the Layers palette; it helps to have an image open as well
so you can see the differences resulting from changing the settings.

Try It Now
1. Open any image in Photoshop.
2. If your Layers palette is not already in view, choose Layers from the
Window menu.
3. Click on the Layers palette menu button at the upper right of the
Layers palette.
4. Choose Panel Options from the menu that appears. The Layers Panel
Options dialog will appear (see Figure 1.8).
5. Choose your preference for the size of the thumbnail that you prefer to
view.

FIG 1.8 Layers Panel Options.

15


Either the second or third option from the top is recommended for thumbnail
viewing. This will allow you to get an idea of layer content without taking
up too much of your screen. No view will prove to be completely adequate
when trying to distinguish layers. Although the largest thumbnail gives the
best view of the layer content, it may prove to be too large for many of the
exercises in this book, as the layers will cascade off the screen. The None
option will take up the least amount of screen landscape, but will make you
rely entirely on layer naming, which negates the value of visual cues.

You can change this option at any time; it applies to the palette, and not to
actual layer content.

Getting Started Creating Layers
There are many ways to create new layers in Photoshop, and the methods
serve different purposes. Table 1.3 describes various methods and the most
common techniques to execute them.

TABLE 1.3 Methods to create new layers in Photoshop.

Function How To

Duplicate layer ●
Drag any layer (including the Background layer) to the Create a New
Layer button. This creates a duplicate layer and adds the word “copy”
to the right of the new layer name.
●
Choose the Duplicate Layer command from the Layers Palette menu or
Layer menu. Creates a duplicate and adds the word “copy” to the new
layer name.
●
From the top menus choose Layer New Layer Via Copy or press
Command J/Ctrl J (Mac/PC) with no selection active. Creates a
duplicate and adds the word “copy” to the new layer name.
●
With two images open, click on a layer in the Layers palette and drag
to the currently inactive image. Hold the Shift key on the keyboard
while dragging to center the image in the image you are dragging it to.
Creates a new layer in the second document with the same name as the
layer in the originating document.

Blank layer ●
Click the Create a New Layer button. Creates a new layer with the
default name Layer # (where the numbers are sequential, starting
with 1).
●
Choose the Layer New Layer command from the Program menu or
New Layer from the Layers Palette menu. Creates a new layer with
the default name Layer # (where the numbers are sequential, starting
with 1).

16



Function How To

Layer via copy ●
Create a selection and then copy (Command C/Ctrl C) and paste
(Command V/Ctrl V). Creates a duplicate of the selected area in a new
layer with the default name Layer # (where the numbers are sequential,
starting with 1).
●
Choose Layer New Layer Via Copy or press Command J/Ctrl J with a
selection active. Duplicates selected area to a new layer with the default
name Layer # (where the numbers are sequential, starting with 1).
●
Press Command Option Shift E/Ctrl Alt Shift E. Merges visible
layer content to a new layer with the default name Layer # (where
the numbers are sequential, starting with 1). The new layer appears
above the currently active layer (if a layer is active) or at the top of the
layer stack.

Layer from Background ●
Double-click the Background layer in the Layers palette. Converts the
Background layer to a nonbackground layer. The new layer will be
created from the Background with a default name of Layer 0.
●
Choose Layer New Layer from Background. Converts the Background
layer to a nonbackground layer. The new layer will be created from the
Background with a default name of Layer 0.

New Background layer ●
Choose Layer New Background From Layer. This changes the
active layer to the Background layer. The command is available only if a
Background layer does not already exist in the image.

Adjustment layer ●
Choose one of the New Adjustment Layer submenu options from the
Layer menu (including Levels, Hue/Saturation, Invert, etc.). A New Layer
dialog will open, allowing you to change Name, Clipping, Color, Mode,
and Opacity. Once you accept the New Layer option by clicking OK, the
Adjustment layer options will appear in the Adjustments dialog.
●
Choose any of the Adjustment layer options from the Create New
Adjustment or Fill Layer menu off the Layers palette. The Adjustment
layer options will appear in the Adjustments dialog.
●
Click any of the Adjustment layer buttons on the Adjustments palette.
The Adjustment layer options will appear in the Adjustments dialog.

Fill layer ●
Choose any of the New Fill Layer submenu options from the Layer
menu (Solid Color, Gradient, Pattern). A New Layer dialog will open,
allowing you to change Name, Clipping, Color, Mode, and Opacity. Once
you accept the New Layer option by clicking OK, a function dialog will
appear as appropriate.
●
Choose any of the Fill layer options from the Create New Adjustment or
Fill Layer menu off the Layers palette. The Adjustment layer options will
appear in the Adjustments dialog.
●
Choose the Shape tool, then be sure the Shape Layers option is selected
on the Option bar (use mouse tool tip to find the button for the option).
Click and drag on the image.
(Continued)

17



Function How To

Type layer ●
Choose the Type tool and click on the image. This creates a new Type
layer. Use the keyboard to enter text once the cursor appears. The Type
tool can be used in combination with vectors to make type on a path
and with shapes to make text in a shape.
●
Choose the Type tool and click and drag on the image. This creates a
new Type layer and creates a text box that will contain the text that is
entered. Use the keyboard to enter text once the cursor appears.

Try It Now
1. Open a new image that is 500 500 pixels in RGB with a transparent
background.
2. Use the options in Table 1.3 to create all of the layer types.

If you take a moment and sit down in front of the computer and run down
the bullet list, you can test out creating all these new layers. Of course there
are reasons to create layers, but right now gain some familiarity with the basic
creation methods. This will help you locate them later when you need them,
and play is a great way to become familiar and comfortable with creating
layers. It won’t be long till we are immersed in serious layer work!

If you do go through the exercise of creating the layers, you’ll notice that
different layer types are created with different icons in the Layers palette.
Table 1.4 shows the icons and what they mean.

At this point we have dissected enough of the Layers palette and the things
that you will see there to have a reasonable orientation as to what to expect.

TABLE 1.4 Identification of various layer icons.

Icon Layer Type

Black and white

Brightness/contrast

Channel mixer

Color balance

18



Icon Layer Type

Curves

Exposure

Gradient

Gradient map

Hue/saturation

Invert

Levels

Pattern

Photo filter

Posterize

Selective color

Solid color

Threshold

Type

Vibrance

19


Exercise
Running through the bullet list and creating random layers in a stack may
be interesting, but not nearly as interesting as working through a practical
example. In this exercise, we will take an image, add a copyright, burn in
the frame, and add a drop shadow using some simple layer creation and
techniques. The exercise is a fairly easy, more or less practical run-through of
some layer creation techniques that will take about 15 minutes and requires
little or no understanding of layers. This is meant to be a glimpse into layer
functionality; although there is some explanation of what is going on during
the exercise, better understanding of the features we are looking at will come
as we explore the possibilities of layers throughout the rest of the book.

There is almost always more than one way to execute a set of
steps to accomplish a result in Photoshop. Though you may usually
use different methods, even for simple steps, it is suggested that you
follow the steps as written the first time you run through any exercise
in this book—especially when a specific means of accessing a function
is suggested. Experimenting with other methods may yield somewhat
different or confusing results. If an option or function step is not
specifically mentioned, it is left up to you to choose.

Try It Now
1. Open any image and flatten if necessary (Layer Flatten Image). The
image should have only a Background layer when viewed in the Layers
palette. Use Sample_2.psd off the CD if you need an image to use.

Flattening is not something you will do all the time when opening
images—quite the opposite. We flatten the image here at the
beginning of the exercise to simplify the image and to have a common
place to start our steps.

2. Double-click the Background layer. This will open the New Layer dialog
(see Figure 1.9).

FIG 1.9 The New Layer dialog with
default name.

20


3. Change the layer name from Layer 0 to “1 Original Background” by
typing in the Name field. Click OK to accept the changes (Figure 1.10).

FIG 1.10 The New Layer dialog with
changed name.

4. Set the Background swatch color to white. To do this press D on the
keyboard (sets default colors). This color selection will affect the results
of the next steps.
5. Create a new layer (click the Create a New Layer button on the Layers
palette). This creates a new layer above the 1 Original Background
layer named Layer 1.
6. Make the new layer into the Background layer by choosing
Background From Layer (Layer New Background From Layer). This
will change the layer to a Background and fill with white. The name of
the layer will change to Background.
7. Choose Canvas Size from the Image menu. When the dialog appears,
choose the options shown in Figure 1.11: New Size: Width: 120 percent
(choose from the menu in the dialog box), New Size: Height: 120
percent. Be sure the Relative box is not checked, leave the Anchor
(white box in center) at the default, set the Canvas Extension Color to
Background. Click OK to accept the changes. This will create a white
border around your image.

FIG 1.11 The dimensions for the
Current Size will be based on the
image you have open and will likely be
different from what you see here. The
settings you will change are below the
top panel.

21


Canvas Extension Color was new as of Photoshop CS3.
Background is the default for earlier versions, so there is nothing to
change in CS2 and previous versions of Photoshop.

8. Choose the Type tool by pressing T on your keyboard.
9. With the Type tool selected, choose a font and font color for a
copyright from the Options bar. If you don’t know what to choose, pick
Arial, Regular, 12 pt, and black. Change these options on the Options
bar, located near the top of the Application Frame, or just under the
program menus. See Figure 1.12.

FIG 1.12 If you are having trouble locating the Options bar be sure Options is checked in the Window menu. If it is checked and you still can’t locate the bar,
uncheck, and then check it again, watching near the top of the screen as you do so. You should see it hidden and then replaced on screen.

10. Click on the 1 Original Background layer in the Layers palette to
activate it and then click on the image with the Type tool. This will
create a new Type layer in the Layers palette just above the 1 Original
Background layer, and a blinking cursor will show on the image.
11. Type in “Copyright © 2009 [your name]”, click the Commit Any Current
Edits button on the Type Options bar, and move the copyright to a
place in the image that seems suitable using the Move tool. To choose
the Move tool, click the Move tool on the toolbar, or press V on your
keyboard.

Commit Any Current Edits Button

Cancel Any Current Edits Button

To get the copyright symbol, press Option G on a Mac; on
Windows, hold down the Alt key and press the following keys on the
number pad in order: 0, 1, 6, 9. Then release the Alt key. If this does not
work immediately or if you have a keyboard with no number pad, turn
on the Num Lock feature from the keyboard (press the Num Lock or
similar button). For more information about Num Lock on PCs, consult
your computer’s user manual. Laptop users may need to consult their
owner’s manual for operation of special keys.

22


12. Change the name of the Type layer you just created by adding a 2
to the beginning of the name. To do this, choose Layer Properties
from the Layer menu or the Layers palette menu. Once you have
completed the name change click OK to accept the changes. At this
point your layers should look similar to Figure 1.13.

FIG 1.13 As you build on additions
to the image, the layer stack grows,
helping you keep each addition
separate and in order.

13. Create a new layer at the top of the layer stack, and name the layer “3
Frame Burn”.
14. Hold down the Command/Ctrl key (Mac/PC) and click directly on the
thumbnail image in the Layers palette for the 1 Original Background
layer. This will load the solid part of that layer as a selection. You
should see the selection in the image as a marquee traveling around
the original image.
15. Invert the selection (press Command Shift I/Ctrl Shift I).

Keystrokes will always be noted in the steps in the same way, and
a reminder of the order will appear once in each exercise when the
first keystroke appears. Mac keystrokes will always be followed by PC
keystrokes, separated by a slash.

23


16. Fill the selection with black on the 3 Frame Burn layer. To do this, be
sure the 3 Frame Burn layer is active, choose Fill from the Edit menu,
and when the Fill dialog appears choose these options: Use: Black;
Mode: Normal; Opacity: 100 percent. Do not check the Preserve
Transparency checkbox. See the dialog in Figure 1.14 for the Fill dialog.
Click OK to accept the changes. This will fill the frame area with black.

FIG 1.14 Use these settings for step
16 of the exercise.

17. Deselect by pressing Command D/Ctrl D. Deselecting ensures you
will apply the next changes to the whole image.
18. Move the layer down in the stack by pressing Command [/Ctrl [.
This will switch the order of the 2 and 3 layers.
19. Apply a Gaussian blur to the layer. Choose Gaussian Blur from the
Blur submenu on the Filter menu (Filter Blur Gaussian Blur). Set the
Radius to 30, and click OK to accept the changes.

The size of the blur radius will be more or less effective depending on
the original size of your image. Use 30 for your radius for smaller images
(1000 1500 pixels, like the sample I provided), 50 for medium images
(2000 3000 pixels), and 70 for large images (3000 4500 pixels).

20. Press Command Option G/Ctrl Alt G or choose Create Clipping
Mask from the Layer menu. This will create a Clipping layer from the 3
Frame Burn and the 1 Original Background layers. Your layers should
look like Figure 1.15 after completing this step.
21. Change the Opacity of the 3 Frame Burn layer to 40 percent, and
change the Mode to Multiply using the Mode drop list and Opacity
slider on the Layers palette. Lowering the Opacity will lessen the effect
of the change.

24


FIG 1.15 Clipping mask layers are
identified in the Layers palette by
underlining the name of the base
layer (in this case layer 1 Original
Background) and indenting other
layers in the mask (in this case 3 Frame
Burn). Only one layer can be used
as the base, but many layers can be
included in the mask stack.

22. Click on the Background layer to activate it.
23. Create a new layer, and name it “4 Drop Shadow”. Because you
activated the background before creating the layer, it will appear in
the layer stack just above the Background.
24. Hold down the Command/Ctrl key and click on the 1 Original
Background layer thumbnail in the Layers palette to load it as a
selection.
25. Fill the 4 Drop Shadow layer with 50 percent gray. Use the Fill function
from the Edit menu, and change the Use drop list under Contents to
50 percent gray. This will fill in color under the 1 Original Background
layer and no change should be apparent in the image.
26. Deselect, Command D/Ctrl D. This will release the selection.
27. Choose Gaussian Blur from the Filter menu (Filter Blur Gaussian
Blur). When the Gaussian Blur dialog appears, use a radius of 20 pixels,
and click OK to accept the changes. This will soften the edges of the
4 Drop Shadow layer. Again the amount you blur will depend on the
size of the image if you are using an image other than the sample
provided. At this point, the layers should look like Figure 1.16.

25


FIG 1.16 The complexity of the image
is building, and so is the number of
layers used to store the changes.

28. Choose the Move tool (press V), and move the 4 Drop Shadow by
holding down the Shift key and pressing the right arrow on the
keyboard twice and then the down arrow twice. Release the Shift key.
This action will have moved the content of the current layer 20 pixels
down and 20 pixels right.
29. Click on the 4 Drop Shadow layer in the Layers palette to be sure
it is the active layer in the image and then make a Hue/Saturation
Adjustment layer by choosing Hue/Saturation from the New
Adjustment Layer submenu on the Layer menu (Layer New
Adjustment Layer Hue/Saturation). When the New Layer dialog
appears, click the Use Previous Layer to Create Clipping Mask
checkbox and change the name of the layer to “5 Drop Shadow Color”
before clicking OK. The Hue/Saturation dialog will appear in the
Adjustments palette.

The Adjustments palette is brand new to Photoshop in CS4. The
palette should make completing adjustments more efficient than in
previous versions by continuously providing access to active dialogs
rather than requiring clicks to accept changes.

26


30. Click the Colorize box and adjust the Hue, Saturation, and Lightness
sliders to adjust the color of the drop shadow to something pleasing.
Moving the Hue slider (right or left) will change hues as if they are on
a color wheel. Moving the Saturation slider to the right will increase
saturation; moving it to the left will decrease saturation. Moving the
Lightness slider to the right will lighten the shadow; moving the slider
left will darken the shadow. Click OK to accept the changes. Your layers
should look like Figure 1.17.

FIG 1.17 You should now have six
layers from the top down (by name):
2 Copyright Text, 3 Frame Burn, 1
Original Background, 5 Drop Shadow
Color, 4 Drop Shadow, and Background.

The Use Previous Layer to Create Clipping Mask checkbox
has been named different things in almost every other version of
Photoshop. It is the only checkbox on the New Layer dialog, and
it always does the same thing: it creates a clipping group from the
layer you are creating. See the Types of layers in Table 1.2 for more
information.

27


If you really want to test out your understanding of layers thus far see if you
can accomplish the following. Don’t worry if you can’t complete all the items
in this list, some of this will be discussed in the upcoming chapter.
●
Change the color position and face of the type in the Copyright layer.
Hints: double-click the Type layer in the Layers palette to select all the
type, use Hue/Saturation like you did in later steps for colorizing the drop
shadow, or use the options on the Options bar.
●
Make a group from the foreground layers you created (2 Copyright Text, 3
Frame Burn, 1 Original Background).
●
Activate the 5 Drop Shadow Color layer, and merge down to commit the
color change and reduce the number of layers in the image.

Summary
We looked at a lot of things in this chapter, from the basics of what a layer
is to how they are applied. You should have had the opportunity to explore
the palettes and menus with which layers are created and manipulated and
gained a more comprehensive visual conception of what layer functions
look like as part of the palette. We’ve looked at the possibilities of adjusting
how the Layers palette displays and have explored the initial possibilities of
creating layers, as well as working through an example of how you might use
layers to effect change in an image.

You are invited to ask questions of the author now or at any time in your
exploration of this book and materials. The web site photoshopcs.com is
dedicated to this book and meant to support readers. It includes additional
techniques, a forum, a blog, contact information for Richard, and more.

The core purpose of this chapter is introductory. Now that you have seen
some of what layers can do, let’s move on to learning how they help you
manage your work flow and form the basis of your image editing process.

28

CHAPTER 2

Layer Management: Concepts
of a Layer-Based Work Flow

T he greatest benefit to using Layers is that you get tremendous flexibility
in controlling image changes and the ability to revisit, adjust, and view
changes at any time later in the correction process. You can also store the
changes to see what you did and create techniques by examining your
process. The biggest drawback to layers—other than learning to harness the
tremendous number of options—is bulking image file size and organizing
an ever-lengthening layer stack. This chapter looks at how to use layers as a
means of managing your approach to correcting images and keeping those
changes organized by incorporating layers as the core of your work flow.
Talking about managing layers before talking about using them is really a
chicken and egg scenario: it could be argued that it is more important to
know what to do with them than how to manage them. However, my thought
is simply this: start with good fundamental practice in using layers, and it will
be more natural to use them in a way that is most beneficial to your images.
Managing layers starts with knowing how to create them—which we looked
at briefly in the previous chapter—and continues with knowing how and
when to combine them to save file size and to group and arrange them to

29


keep them and your image corrections effective and organized. Making the
effort to keep things organized may take a little more time at first, but, like
all maintenance and organization, will help in the long haul to keep you on
track and becomes more natural as you do it consistently. For example, when
you make a meal, you might follow a recipe. This can save you from goofing
up dinner entirely. Along the way you might make some adjustments to taste
depending on your level of confidence, or depart from the recipe entirely
once you are sure of what you are doing. The recipe acts like a fallback or
outline of a basic plan.
When you follow an organized plan for using layers, they end up being not
only a means of correction and an organizational tool for those corrections,
but a means of driving corrections, organizing the correction work flow,
acting as a history of image correction and ultimately as a device for learning
about image corrections and what is successful. Effectively managing layers
and layer content will help keep your corrections on track, will allow you the
flexibility to step back and forward in corrections, and will keep your images
from bulking up to ridiculous size unnecessarily. Just like a recipe, layers act
as a plan for getting to where you want to go, while keeping you safe from
damaging the original image content.
To look at Layers as part of a total process, we’ll begin with an outline of an
approach to image editing. Then we’ll look at more theoretical applications of
layers for organization and image correction and how layers factor into and
direct the process of correction.

The Outline for Image Editing
For the sake of putting layers in the context of process, we’ll look at a
complete outline for processing images from beginning to end. Layers are
crucial to every stage of correction. Our outline will look a bit beyond just the
process of correction to be sure the process is considered from end to end:
from monitor to print. Consider this outline as your plan for editing images
and use it as a road map in making all your image corrections—especially if
you do not have your own plan in place.
The steps to image editing include several distinct parts:
●
Setup
●
Capture
●
Evaluation
●
Editing/correction
●
Purposing/output
Setup encompasses all the necessary steps for preparing your equipment
(computer and photographic) for capture, image editing, and output. Capture
is exposing/gathering your digital source images as files to use in editing and
output. Evaluation is looking at the images and considering what you will
do with the image and the steps you will be taking in correction. Editing and

30

Layer Management

correction is manipulation of the source image captures according to your
evaluations and in preparation for output. Purposing and output encompasses
all manner of final use of images in display, in print to different media and
processes (inkjet, offset, light process), or for a monitor (web pages, video).
Although layers are involved directly only in the editing stage, the other
stages all affect the choices you make in the correction and editing stage, so it
is valuable to have a quick look at the entire process in more detail.

Setup
Setup is everything you need to do to prepare for image editing: being sure
your capture device, system, and editing program are set up correctly and
that you have considered the purpose or use of the image. This is important to
ensure you will get the results you want.
●
Be sure your computer system is ready for image editing with Photoshop.
You will need to consider the requirements for running Photoshop, such
as how much RAM your computer has, the speed of the processor, and
generally the ability of your computer system to handle the demands of
image editing. Check the requirements (find these on the packaging or
on the Adobe web site). You will also want to have significant free disk
space and establish a backup routine for images (and have the appropriate
media on hand). Concerns for your computer setup may extend to having
a firewall in place, virus protection, and image-editing input devices
(mouse, trackball, graphic pen).

You are not limited to using a mouse when editing images, and
other devices may be more to your liking. Image-editing input device
possibilities include trackballs (http://aps8.com/trackball.html) and
graphic pen/tablet combinations (http://aps8.com/wacom.html). I rarely
use a mouse for serious image editing.

●
Calibrate your monitor, and create a custom ICC profile. A custom profile is
usually made during the calibration process done with calibration systems.
The profile helps Photoshop compensate for color display. Calibration is an
essential step in color management and matching what you see on screen
to what will appear in print and on other monitors.

Calibration devices such as the ColorVision Spyder 2 Pro (http://aps8.
com/spyder.html) can simplify calibration, make it more accurate, help
manage ICC profiles, and make color management less of a chore.

●
Set up Photoshop. This includes setting up color management preferences,
preferences for scratch disks/memory usage, and testing output. Photoshop
is a memory hog, and it is not unheard of to dedicate a hard drive to the

31


sole purpose of being a Photoshop scratch disk. Giving Photoshop a lot of
room to do what it does ensures your best chance of getting the results you
intend consistently and that your system functions optimally.
●
Have a system for archiving. Be prepared to archive the original image files
safely when you download them from the camera and before you begin
work on them. This may require consideration of archiving media and
equipment. Archiving is crucial to a safe work flow in which you always
work with a copy of an image to do all of your image editing and safely
store copies in case of drive failures or other catastrophic loss. If any step
in the editing goes awry, or you lose an image, you will want to be able
to return to the original image to start over. Working on copies will also
give you the opportunity to “repurpose” the original in the future or take
advantage of new and emerging technologies that might help you get
more from the original image capture. DVD drives, CD-ROM, RAID arrays,
tape backup, external drives, and even online storage can all be considered
in keeping your images safe.
●
Consider the final purpose of your images. Resolution, size, color, file type, and
purpose all affect the final result. This can affect your other choices in setup.
You may work at different resolutions and in different color modes throughout
the image-editing process for specific purposes, but knowing what you need
from the outset of the project can help you work smarter, with less possibility
of getting into situations in which you compromise image integrity.
●
Be prepared to make the best use of your camera. Know your camera settings
and controls. Nothing will do more to help you get the best shot than
knowing how to work your camera. This will include becoming familiar
with your camera’s unique settings. If you use accessories, knowing how
they function is important as well. One of the most important accessories
for any piece of equipment you own is the owner’s manual. Be sure to put
yours to good use, and read it several times from cover to cover—or at
least those sections written in your own language! Remember to bring all
necessary equipment if you’ll be shooting in the field: have ample memory
on hand, to take all the shots you want, and ample power (several sets of
new or newly charged batteries).

I have several 4 or 8 GB cards on hand whenever I shoot (see
http://aps8.com/4gb.html or http://aps8.com/8gb.html). In addition
I carry an 80 GB Wolverine portable hard drive that reads seven types
of memory card and can be powered by battery (http://aps8.com/
wolverine.html). Between these, I can store about 12,000 shots without
downloading to my computer.

●
Learn about scanner features and scanner software. Software and features
on scanners can often vary drastically between makes and models. Just
like being familiar with your camera and settings, knowing what your
scanner model can do and your options for scanning will help you get the

32

Layer Management

most from the images that you scan. If using a scanner, again, make friends
with your manual. Color calibration and profile building specifically for the
scanner may also be appropriate steps to take at the point of setup.

Capture
With setup completed, you will want to take the utmost care in the actual
capture of your images so that the result will be the most useful and of the
highest quality. Starting with the best source image leads to the opportunity
to achieve the best result.
●
Take command of your camera to get the best shot. This includes working
with settings such as aperture and shutter speed, as well as controlling
other qualities of capture such as depth of field and framing. Proper
settings extend to the use of other accessories, such as flash, and also
mechanics like holding the camera perfectly still as you press the shutter
or moving evenly as you track to follow motion or create special effects.
Knowing the settings is only half the battle; practice in using the modes
and settings and creating interest in your captures will improve your
photographic technique and enhance the improvements possible with
Photoshop. There is nothing that can substitute for good source images.
●
Capture additional frames. Don’t be afraid to snap the shutter with your
camera pointed at any subject that you might later use for retouching,
compositional changes, or enhancements. If you don’t take a photo, you
will not have the source to work with. For example, if shooting a group
portrait you might take three to five shots of the group to be sure smiles
are in place, eyes are open, poses are acceptable—you want to capture
enough source images to make necessary enhancement and replacement
easy. If shooting a high-contrast scene, you may want to make one
exposure for the highlights and one for the shadows so you can merge
the results later. Don’t be too quick to delete potentially useful images just
because they are not perfect in preview. You should have plenty of memory
for more images (take a second look at your steps for preparation), and
weed out the clunkers in Photoshop, in which you can give them a fair look.
●
Control scanner settings to get the best scans. Settings for optimal scanning
will often be achieved manually or via some manual intervention. In the
case of scanning, resolution, color mode, white point, and more may be
choices you will need to make to optimize results. Most scanners have auto
modes, but the best scans are often made with scanners that allow manual
adjustment during the process of scanning.

If you intend to scan nondigital images, be sure that you have the
scanner you need to do the job. Using a flatbed scanner for printed
images is fine, but I’ve yet to see quality scans of negatives or slides
even from quality flatbeds using a transparency adapter. Dedicated slide
and negative scanners have come way down in price, and a dedicated
scanner may be your best option for digitizing slides and negatives.

33


1. Enhance color
2. Extend image to the right
3. Enhance contrast between blue/yellow
4. Sharpen needles
5. Soften color blotchiness and highlights

FIG 2.1 Making notes on a rough print of your image may help your evaluation and can keep your desired goals in mind.

Evaluation
Actually looking at your images on screen and carefully evaluating them are
what determines which steps you take in making corrections. You should take
a moment to jot down some notes as to what you hope to accomplish with
your changes (see Figure 2.1). The result of the evaluation should be a short,
but detailed, list of things you want to improve or change. A set plan helps
keep you on track and suggests the tools and techniques to employ to reach
you goals for a given image. Planning can also keep you from distracting and
fruitless experimentation.
●
Consider tone and color. Analyzing tone and color should include
determining qualities like the image type (high key, low key, high contrast).
You will want to consider the dynamic range, how vivid the image is, the
exposure, the saturation, and the color balance/color cast.
●
Consider cropping and horizon level check. Cropping can be used to solve
compositional problems as well as removing distractions or simply
reshaping an image. A common problem in landscape photos is a tilted
horizon, and this can often easily be fixed with a cropping adjustment, as
can some problems with perspective.
●
Consider small-scale composition enhancements and adjustments. These
adjustments fix obvious damage, eliminate dust or debris, and possibly
remove distracting objects in the image.
●
Consider imaging heroics. What I consider “heroics” are special
compositional enhancements and corrections that go well outside “small
scale” and the normal path of your work flow. Changing composition
considerably (e.g., moving or adding a complex object to an image,
compositing several images into something much different, and possibly
some instances of HDR (high dynamic range) compositing), complex
custom masking, re-creating objects, etc., are all heroic efforts to make an
image work. These changes are usually very complex and require many

34

Layer Management

steps in adjustment, a lot of skill, and many layers. Experimentation is
considered heroics.
●
Consider image enhancements. Once an image is refined through more
obvious corrections, you may want to add general enhancements like
softness, sharpening, saturation, and other general qualitative adjustments
to enhance the image. This can include adding graphic elements, such as
border styling, framing, type, etc. These enhancements may not be part of
the original image.

Editing and Correction
When correcting and editing images, you will take specific steps to achieve
the goals set during your evaluation. This is where you will actually employ
layers as a core tool in organizing and executing the steps necessary to
complete your corrections.
●
Make general color and tonal adjustments. This means executing tonal and
color adjustments that will not use selection or masking. You will rely on
levels for most of this general correction. Other tools to consider are hue/
saturation and color balance.
●
Make general damage corrections, such as eliminating dust from scans,
fixing cracks and holes in scanned images, and reducing digital noise.
●
Make general compositional changes, including cropping, compositing, and
simple replacement or removal of objects.
●
Make heroic changes to the image. This can include reshaping objects,
broad compositional enhancement, experimentation, or even collage.
●
Make targeted corrections to the image using selection and masking.
Usually you will want to exercise all general color and tone corrections
before singling areas of the image for complicated masking correction.
●
Make enhancements to the image for sharpness, softness, saturation,
brightness, and other generalized “final touch” effects such as framing,
adding copyright, etc.
●
Save the working, layered version of the image. Saving layers allows you to
return to the image for additional changes, repurposing, or exploring the
techniques used. Be sure to give the file a new name when saving, so you
do not save over the original.

Purposing and Output
Once the image is saved with layered corrections, you will use that version
of the image to target specific output types as needed. You will purpose the
working version of the image for output as needed for uploading to web sites
and printing.
●
Simplify the image as appropriate for use in the medium you have selected.
This step may include flattening the image or merging layers, altering the
color mode, or removing extraneous image information (paths, channels,
alphas, etc.; don’t worry if you don’t know what all these things are at this
point). During the process of simplifying, be sure to retain all components

35


that may be important to your output, like vectors for high-resolution
offset printing.
●
Optimize the image resolution and color for output/use. Make color, tonal,
and color space adjustments if necessary, and resize the image according
to the target resolution. This step can include such changes as setting
white and black points and making device-specific color changes (e.g.,
conversion to CMYK).
●
Save the image in output file format. Not all files are alike. Some services and
output devices will require specific file types, and some file content will
require file types that retain qualities you have created in the image (e.g.,
vector components). Make considerations for profile handling as part of
your work flow and intended output, and be cognizant of whether you will
embed a profile (usually you will).
●
Package the image for output use. Copying the image file(s) to portable
media applies only if you will be physically delivering the file on media to a
service. Many times you will be able to upload images via FTP or email. Any
changes made to the file should be saved with the working version of the
PSD so you retain only one working version of the image.

This checklist may seem long, but each step will often not be very involved.
Some steps you will do naturally, some take just a moment, and some are
just reminders for maintaining a positive work flow. Practicing correction by
following the steps in the list can ensure that you make all adjustments and
corrections that you intend to and successfully reach your goals for the
image.

As the focus of this book is Layers, this book assumes that readers
are familiar with a staple Photoshop toolset made up of commonly
used tools. The appendix titled Photoshop’s Essential Tools List included
at the back of this book describes approximately what this toolset
encompasses. Please use that appendix for reference as necessary to be
sure you are working with recommended tools.

The Logic of Layers
Now that we have outlined a basic work flow, it is time to start wrapping the
process of working with images around layers. As mentioned in Chapter 1,
layers are a vehicle for instituting nondestructive change in images. In other
words, you can keep the original image information intact while making
virtual changes over it. Used correctly, layers are a far more powerful tool than
Undo or Histories in allowing you to reverse changes at any time—not just
during an image-editing session. With layers it is possible not just to undo or
reverse sequential changes, but to adjust the editing sequence and intensity
of applied changes as you go by reordering layers, adjusting opacity, and
toggling visibility. The power of layers is greater if you approach them with

36

Layer Management

a solid understanding of when to use them and how to organize them with
naming, grouping, merging, duplication, clipping, and linking.

When to Create a New Layer
Ideally you will want to create a new layer for every change that you intend
to make in an image. That is, if you are going to make a general color
adjustment, make a new layer; if you are going to sharpen, make a new layer;
if you are going to make a spot change to any image area, make a new layer;
if you are making dust corrections to a scan, make a new layer (not one for
each speck, but one for all of them). Some layers will force themselves on you.
For example, when you use the Paste command, Photoshop will create a new
layer. This is as it should be.

The goal of layer creation is to keep each logical step in the process separated
so you can return to the image in the future, see what you did, and perhaps
reverse or re-create these changes and the process in another image. That
is, layers can be used to archive your work flow in steps that you took to
achieve the result, they can help you save time and effort if you want to make
a change in the developed image without having to redo all the corrections,
and they can provide a means of learning from your own efforts by reviewing
your process—now or years from now.

Naming Layers
A very important means of keeping layers organized is being consistent with
layer naming. When new layers are created, they are created with a generic
name (e.g., Layer number or the type of Adjustment layer). Several practices
can help you make better use of layer names: naming the layer by purpose,
entering the parameters used, and numbering the order of creation.

Naming the layer by purpose is simply typing in a name that has to do with
what you used the layer to accomplish. For example, a layer used for dust
removal would be named “Dust Removal”; a layer used to isolate an object
would be named for the object. When using functions like Gaussian Blur on
a layer to soften an area, you may want to note the settings used in the layer
name. Finally, you might also consider numbering the layers. Though you will
often work from the bottom of the stack upward in order, that will not always
be the case. See Figure 2.2 for a simple example of layer naming according to
suggested practice.

This type of simple naming scheme has potential to be very helpful in that it
can help you know what a layer is for without having to examine the content
(e.g., toggling the view for layers, increasing the size of the thumbnails,
zooming in to the image). Naming layers as you go to hint at what they are all
about will help keep them organized and let them act as an outline or running
history for your editing procedures. In that way, investing some time up front
helps save lots of time later on in reproducing or duplicating results without
extensive trial and error.

37


Before

FIG 2.2 If you start your layer
organization with layer numbering,
you can track what was done to an
image in order by looking at the layer
names. After

Whereas including some information in the layer name makes sense,
including too much information can make the layer names bulky and
difficult to read. A number, brief purpose, and settings (if applicable) will
often be all you need.

There are several ways to edit layer names. You can often change them when
creating the layer depending on how they are initiated, but you can also edit
the names after the layers are created. The following exercise has no other
goal than to explore the various opportunities for naming layers; there will
ultimately be no change in the visual appearance of the image on screen.

Try It Now
1. Open a new image using the settings from Figure 2.3.
2. Choose Duplicate Layer from the Layer menu (Layer Duplicate
Layer). This will open the Duplicate Layer dialog with the As field
prenamed Background Copy (see Figure 2.4).

38

Layer Management

FIG 2.3 This will create a small, white image named Layer Names that is just 600 600 pixels. It will be more
than enough to explore layer naming.

FIG 2.4 Other means of invoking duplication may not force open the Duplicate Layer dialog. If the dialog does
not open, it is likely that you were using another method.

3. Change the As field by typing over the current default name. Change
the name to 1 Duplicate Background, and click OK. This will close the
dialog and complete creating a duplicate of the Background layer
with the new name (see Figure 2.5).

FIG 2.5 By default the name is highlighted, and just typing will replace it.

39


4. Click and drag the 1 Duplicate Background layer to the Create a New
Layer button at the bottom of the palette. This will create a new layer
with the name 1 Duplicate Background Copy at the top of the stack
identical to the other two layers, except in name.

Had you held down the Option/Alt key (Mac/PC) when dragging in
the previous step, the result would have been that the Duplicate Layer
dialog would have opened as in step 2.

5. Open the Layers palette menu (find the menu button at the upper
right of the palette) and choose Layer Properties. The Layer Properties
dialog will appear. Change the name of the layer to 2 Duplicate
Background II (see Figure 2.6). Click OK to accept the changes and close
the dialog. Note the name will change for the current layer in the
Layers palette.

FIG 2.6 The Layer Properties is similar to the Duplicate Layer dialog, but with fewer options, and the layer name
is in the Name field.

6. Double-click the Background layer in the Layers palette. This will
open the New Layer dialog with the name Layer 0. Click OK to accept
the changes with the default name. You could have changed the
name there, but you will change your mind shortly.
7. Double-click directly on the name Layer 0 in the Layers palette. The
name of the layer will be highlighted in the palette (see Figure 2.7).
You can type in a name change directly on the palette. Call it Original
Background, and then press Enter or Return on your keyboard to
accept the changes. Your image will look like Figure 2.8.

There are alternatives for getting to the Layer Properties. Option/Alt
and double-clicking on a layer will open the Layer Properties. You can
also open a menu for the layer: on a Mac, hold down the Control key
and click on a layer (not a Background); on a PC, right-click on a layer.
Note that if you click on the layer or thumbnail, you will get a different
menu.

40

Layer Management

FIG 2.7 Double-clicking the layer
name allows you to change the name
directly on the palette.

FIG 2.8 The exercise should have left
you with these three layers: Original
Background, 1 Duplicate Background,
and 2 Duplicate Background II.

Any of these methods of naming your layers may come in handy at various
points in the process of editing. You will develop favorites with experience.
But the bigger point is to use layer naming opportunities to note what step(s)
a layer contains so that you can tell at a glance.

Leave this image open; we’ll use it in a moment for another quick exercise
with layer grouping.

41


Grouping Layers
When you begin to work with layers extensively, the number of layers you use
can easily start to get unwieldy. It may sound funny to those who currently
don’t use layers at all, but you can easily end up with hundreds of layers in an
image. The advertising photography work I have done, which requires intense
correction of models (changing face and body shape and contour, along with
color correction, pore reduction, lens correction, and the like), often entails
several submissions of an image, with revisions. I make a habit of saving every
step in the hours of intense correction, so it is unnecessary to start over again
when the revisions come back. Trying to repeat everything from scratch is not
a very pleasant thought, and would be sheer tedium. The working version of
images could end up with hundreds of layers and often with several images in
various editing stages that would be used for different parts of a composite.
More recently I was designing an interface for a web application, and the
demo image had over 2000 layers. When you use them often, and in the right
way, layers almost become addictive.

One thing that happens when you get a lot of layers in an image is that
the Layers palette gets confusing just to look at, let alone navigate. Equally
problematic is scrolling to the layers you need, as you can’t see them all on the
screen at one time once you get over 25 or so—depending on the size and
resolution of your screen and the Layers palette settings for the thumbnail
size. To keep a bulking layer stack more manageable, and to keep layers more
organized, you can store layers in layer groups. Groups work like folders in a file
structure; they allow you to expand and collapse the view of the content so you
can choose to see the layers in a group or hide them from view (see Figure 2.9).

Layer groups were known as layer sets in Photoshop 7. They are
essentially identical features.

You can create a layer group from existing layers or create a group and add
the layers as you go. At any time you can show or hide the content of the
groups or duplicate or move them like any other layer (even between images),
and they can be nested up to five deep. A little practice with them will get you
familiar with how they work, and we can get familiar in a short exercise. Again,
the goal of this exercise is just to experience groups, not to change the image
in any way. Do this exercise continuing from the point at which we left off in
the previous exercise (Figure 2.8).

Try It Now
1. Highlight the two upper layers (2 Duplicate Background II and 1
Duplicate Background). To highlight one layer at a time on a PC,
hold down the Ctrl key and click the layers in the Layers palette; on a

42

Layer Management

FIG 2.9 The toggling arrow immediately to the left of the layer group allows you to expand or collapse the view for the content of the groups. These two
Layers palettes represent exactly the same image.

Mac hold down the Command key and click the layers in the Layers
palette (see Figure 2.10). You can also highlight multiple consecutive
layers at once by clicking the upper layer to highlight it and then
pressing Shift and clicking the lower (or vice versa; you can start with
the lower and Shift click on the upper).

43


FIG 2.10 Highlighted layers are shown here in blue. The color of your highlighting may be different depending
on system preferences.

Highlighting layers one at a time is useful for selecting layers that are
not consecutive.

2. Choose New Group From Layers from the Layers palette menu. This
will open the New Group From Layers dialog, which will allow you
to rename the group. Accept the default group name (Group 1) by
clicking OK. This will create the new layer group with the highlighted
layers contained in the group. View the layers by clicking the arrow to
the left of the group to expand the group (see Figure 2.11). Leave the
group collapsed for the next step.
3. Click and drag the Group 1 group to the Create a New Group button
at the bottom of the Layers palette. When you release, this will
immediately create a new group called Group 2 containing Group 1.
If you had held Option/Alt while you dragged you would have the
option to rename the group. After creating Group 2, toggle the
Expand/Collapse arrow for the old group, Group 1, to reveal the
original layers in Group 1, inside Group 2 (see Figure 2.12).

44

Layer Management

FIG 2.11 Even though the layers are hidden in the Layers palette, they remain visible in the image. Choosing New Group From Layers in the palette menu is
the same as using the Create a New Group button in step 3 without the dialog appearing for the option to rename the group.

FIG 2.12 Group 1 is now nested inside Group 2. Although both groups are visible here, collapsing Group 2 will hide Group 1 in the Layers palette as well as
the layers in the group ... try it!

45


4. Drag Group 1 to the Create a New Layer button. This will duplicate
Group 1 as Group 1 Copy, and both groups will remain inside Group 2
(see Figure 2.13).
5. Click and drag Group 1 Copy over Group 1. As you drag the cursor,
note when Group 1 highlights (see Figure 2.14) and release the mouse
button. This will move Group 1 Copy inside Group 1.

FIG 2.13 The Create a New Group
button in step 3 created a group
around the layers dragged to it. The
Create a New Layer button simply
duplicates the layer—it just happens
to be a group in this case.

FIG 2.14 After you drag the copy, expanding Group 1 reveals its contents.

46

Layer Management

Layers in any group remain fully editable. The entire advantage is that the
groups can be collapsed so there is less to search through, and groups can be
organized so you can quickly find what you need. If you find all this naming by
“Group” a little confusing, please see the previous exercise, and exercise your
right to rename the groups as you please—you can name groups in the same
ways you can name layers. Perhaps this illustrates the benefit of naming layers
as you go as well.
Again, leave this image open and available for use with the next exercise.

Be aware that this exercise is illustrating basic concepts of grouping
and layer naming. The order in which you create and stack layers often
matters to the result. Moving layers around in the stack willy-nilly just
to accomplish a neat grouping may have an effect on the image result.
Always view the image on screen while moving layers to be sure the layer
movement doesn’t affect the image result!

Merging Layers
Just as there are reasons to create layers, there are reasons to delete and
combine them. Combining layers in Photoshop is referred to as merging.
Merging combines the content of two or more layers into a single layer. This
saves on file size and simplifies the image by reducing the number of layers in
the stack.

Layers can be merged from various groupings: linked layers, grouped
layers, visible layers, active (highlighted) groupings, and simple pairs can all
be merged. Usually you will want to merge layers that do the same thing
but somehow end up separate, or you will want to merge layers that you
otherwise really don’t have a good reason to keep separate. Let’s use the
image from the last example, starting from where we left off, to have a look at
some ways to merge layers and the result.

Try It Now
1. Make sure Group 1 Copy is the active layer in the image, then choose
Merge Group from the Layer menu. This is the same as pressing
Command E/Ctrl E. The content of the group will be merged into a
single layer named Group 1 Copy (see Figure 2.15).

Often problems that occur in applying changes happen because the
wrong layer is active. Your first place to check when a change doesn’t
behave as you expect should be which layer you have active to be sure it
is the layer you really want to work on.

47


FIG 2.15 By “make sure Group 1 Copy is the active layer,” I mean click on the layer so that it is highlighted in the Layers palette. An active layer is the “live”
layer in your image, or the layer you are currently working on.

2. Click on the 1 Duplicate Background layer in the Layers palette to
make it the active layer, then choose Merge Down from the Layer
menu. You will notice that the menu item you are choosing is in
exactly the same place as Merge Group was in step 1, but it has a
different name because of the image context. The merge commands
are named with context sensitivity, and the names will change
according to the actions that are available (see Figure 2.16).
3. Undo the changes from the last step by pressing Command Z/
Ctrl Z (you can also step back in the History or choose Undo from
the Edit menu). This will restore the 1 Duplicate Background layer.
4. With the 1 Duplicate Background layer active, hold down the Shift key
and click the Group 1 Copy layer. Both the 1 Duplicate Background and
the Group 1 Copy layer should appear highlighted (see Figure 2.17).
5. Choose Merge Layers from the Layer menu as in step 2. Note that the
resulting layer is named 1 Duplicate Background, as per the upper
layer in the merge. If you compare steps 2 and 5, the dominant name
changes depending on how you merge layers.
6. Choose Flatten Image from the Layer menu. This is the ultimate merge.
The entire contents of the image will be merged as a Background layer
(whether or not a Background layer existed in the image previously).

48

Layer Management

FIG 2.16 Note that the resulting layer
from the merge is Group 1 Copy, as per
the lower layer in the merge.

FIG 2.17 With two active layers being
merged, the naming result is different
compared to simply merging down.

49


Although it is all well and good to merge these layers and groups to
see how they react, it is important to remember that you are performing
permanent adjustments that will prevent you from further editing of
individual layers that are merged.

7. Choose the Type tool, set a color and font (size and style), and click
on the image to make a new Type layer. Make the font large and
bold—a little oversized, as it will come in handy later (the next
exercise). Type in your copyright (e.g., Copyright © 2009 Richard
Lynch). For an “appropriate color” use black.
8. Press Command E/Ctrl E. This is the shortcut to merge the
Type layer down. In this case the Type layer will merge with the
Background.
9. Choose the Move tool (press V) and move the copyright into position.

Wait … can’t do that? How about just deleting the copyright. But you can’t
do that either?! Perhaps that drives home the idea of the importance of
layers and the purpose of merging. You had superfluous layers in the image
before—just duplicates of white squares. You could create more layers and
merge them and it didn’t make a bit of difference in the result. However, when
you have your copyright, you’ll want to be able to move it around and maybe
shut off the view of it or remove it for some purposes. As soon as you merge
it with another layer, the content becomes permanently affixed. You want to
keep all distinct changes in separate layers so you have the opportunity to
move or delete them when necessary.

Just so you know you aren’t too far up a creek without a paddle:

10. Press Command Z/Ctrl Z to restore the Type layer so you can edit
the copyright position without having to start over.
11. Choose the Move tool (press the V key), and move the copyright
where it belongs.

I hope that we’ve touched on a few valuable lessons here and you already
begin to see not just how to create layers, create groups, and combine
and name layers and groups, but also a little about how managing your
corrections in layers can be important. Funny … we haven’t even made any
changes that affect the visible content of your images yet! We’re getting
closer, but there are still a few more fundamentals to explore. You can close
that image for now … no need to save it; but you may want to run through
those exercises again to solidify these fundamentals.

50

Layer Management

Moving and Activating Layers
We’ve made some layers active by clicking them in the Layers palette and
even did some click–drag movements to duplicate layers. Moving and
activating different layers in the image will become more important as you
work with your images, but this Layers introduction would be remiss to leave
out information about moving layers in the palette and activating/navigating
to different layers in the stack via keystrokes. Activating layers is simply
making them the layer that is currently poised to accept a change, as we did
in earlier exercises by clicking on a layer in the Layers palette. Moving layers
is shifting their position in the layer stack, which you might do for a variety
of reasons, from organizing, to giving a layer more or less influence, to just
getting them where you expected them to go in the stack after creating them.
Moving layers can simply be drag and drop, like you did in the Layer Group
exercise. Click on a layer and drag it up or down in the layer stack. Some of the
common shortcuts you might use for navigation are in Table 2.1.

TABLE 2.1 Layer navigation shortcuts.

Purpose Mac Windows
Shortcut Shortcut

Move an active layer up in the layer Command ] Ctrl ]
stack

Move an active layer down in the Command [ Ctrl [
layer stack

Move an active layer to the top of Command Ctrl Shift ]
the layer stack (or layer group) Shift ]

Move an active layer to the bottom Command Ctrl Shift [
of the layer stack (or layer group) Shift [

Activate the next layer up in the Option ] Alt ]
layer stack

Activate the next layer down in the Option [ Alt [
layer stack

Activate the next layer up in the Option Alt Shift ]
layer stack (keeping the current Shift ]
layer(s) selected)

Activate the next layer down in the Option Alt Shift [
layer stack (keeping the current Shift [
layer(s) selected)

Activate the top layer in the layer stack Option . Alt .

Activate the bottom layer in the Option , Alt ,
layer stack

51


Moving layers is often most handy for inverting the order of two layers in the
stack (moving up one or down one). Knowing how to select the top or bottom
layer with a shortcut can help you quickly navigate images with a lot of layers,
jumping from top to bottom in a flash. We can test out some of the shortcuts
for moving and activating layers in the following sections.

Clipping Layers
Probably one of my favorite layer types (and not everyone will share this
preference) is the Clipping layer. It is really just an easy way to target changes so
they affect the content of one particular layer. That is, say you have an object that
you have separated into a layer above the Background. You would like to make
a change to the color of the object, but not the Background. Although there
are many potential solutions, Clipping layers offer the opportunity to target an
adjustment only to that layer while keeping the changes in their own layers. If you
have to make several changes to the layer, Clipping layers may be the only way to
get it done and keep the changes distinct without duplicating masks.

The implications are farther reaching than simply being an alternative to
masking. You can use Clipping layers as masks, but more as organizational
tools for your corrections. The best way to see them work is through example,
so let’s see what they do in a simple exercise.

Try It Now
1. Make a new 600 600 pixel image as you did earlier, using the
settings as you did in Figure 2.3.
2. Fill the image with red. To do this choose Fill from the Edit menu.
When the Fill dialog appears, choose Color from the Use menu on
the dialog and when the Choose a Color dialog appears, change
the color to R: 255, G: 0, B: 0 using the RGB fields. Click OK on both
dialogs to apply the color. This will fill the Background layer with red
(see Figure 2.18).
3. Change the foreground color to blue (RGB: 0, 0, 255). To do this, click
once on the foreground color swatch at the bottom of the Tools
palette on the left of your screen. When the Color Picker displays,
enter the RGB values in the RGB fields (press 0, Tab, 0, Tab, 255) and
click OK to close the dialog.
4. Choose the Type tool (press T on the keyboard), then click and drag
on the image to create a text box. This is a variation on making a
Plain Text layer, which will give you more control over how the type
fits into the image without using returns to control line breaks.
5. Type “Boy, do I love clipping layers!” and fit it large in the image
using the type box (resize the box using the sizing handles) and
type choices (change type size, leading, kerning, scaling, style, and
more in the Character palette: Windows Character). Notice the layer
names itself Boy, do I love clipping layers! (see Figure 2.19).

52

Layer Management

FIG 2.18 There are other ways to fill the background and other ways to choose the color. We’ll mix up techniques as we go, to delve into nooks and crannies
in the interface.

FIG 2.19 If you are not familiar with using type and sizing, this screen shot of my Character palette will give you an idea of what to do, but different type
faces will display very differently and will likely need some adjustment.

6. Duplicate the Background layer. Fill it with yellow (RGB: 255, 255, 0)
using the Fill function with either the Foreground Color or the Color
option on the Fill dialog. This will change the area behind the type to
yellow. Rename the layer Yellow.
7. Press Command ]/Ctrl ] to move the Yellow layer above the Type
layer. The entire image will now be yellow.

53


8. Now press Command Option G/Ctrl Alt G. This will make the
Yellow layer and Type layer into a clipping group. The type will be
colored yellow, and the Background layer’s red will show as the area
around the type.

The yellow color from the Yellow layer is applied over the type, and only to the
type, after the conversion to a Clipping layer. That is, the Type layer content
acts as the base or background for the clipping group, with the solid part of
that layer being the canvas for the group.
You can change isolated areas of the image by grouping/clipping. Instead of
using the layer fill, take it up a notch to make it really do something in an image.

Try It Now
1. Open the Sample_3.psd file on the CD.
2. Duplicate the Background layer and rename the layer Burn Source.
3. Click the Background layer in the Layers palette or press Option
[/Alt [ to activate it.
4. Create a new blank layer by clicking the Create a New Layer button
on the Layers palette. This will create a new layer between the
Background and the Burn Source layers. Name the layer Clipping
Mask. Change the Mode of the Clipping Mask layer to Multiply. You
won’t see anything change in the image on screen yet.
5. Press Option ]/Alt ] or click on the Burn Source layer to activate it.
6. Press Command Option G/Ctrl Alt G. This will group the Burn
Source and the Clipping Mask layers.
7. Choose the Brush tool and a soft brush, then activate the Clipping
Mask layer and click on the image over the leaves at the edge of the
image in any color. As you fill in with paint, those areas of the image
will burn in and become darker (see Figure 2.20).

FIG 2.20 Edge burning is a technique commonly used to hold the viewer’s eye in the image.

54

Layer Management

8. After painting and darkening the edge, reduce the opacity of the
brush to 50 percent, and paint in a little tighter on the next circle of
leaves, leaving the bud area the lightest (see Figure 2.21).

FIG 2.21 Reducing the opacity of the brush will keep the next round of burning a little lighter to gradate the result.

9. Add a Hue/Saturation adjustment to the whole image with 70
saturation and 180 hue. To do this press Option ./Alt . to select
the topmost layer. Then choose Hue/Saturation from the Create New
Adjustment or Fill Layer menu at the bottom of the Layers palette.
When the Adjustment layer is created, you can move the sliders to
the requested position (see Figure 2.22).

FIG 2.22 Even though there is a Clipping layer below this adjustment, it affects the whole image —not just the
clipping area.

You can go much further with this by stacking multiple corrections in the
Clipping group. Each will act on the content of the bottom layer in the group in
the order of the stack. Hold onto that image to continue into the next exercise.

55


Linked Layers
Yet another potential organizational tool is layer linking. It is really somewhat
subservient to other types of layer organization (like groups). Linking allows
you to make layers behave as a unit, whether consecutive or not (unlike
groups, because layers in the group have to be consecutive). This can be
handy for keeping layers in registration and moving in unison on the layer
plane. Lets add a copyright that blends with the image rather than using a
flat color.

Try It Now
1. First thing we are going to do is gather the visible image to a new
layer. I sometimes call these layer snapshots (not to be confused with
History Snapshots) or Stamp Visible. With the Hue/Saturation layer
active, press Command Option Shift E/Ctrl Alt Shift E. This
creates a new layer and gathers the visible content into it—almost
like flattening, but without losing the other layers. Name the layer
Snapshot.
2. Create a new Copyright layer using the Type tool. I’ll just be using
Copyright © 2009 here so I can make the type big. Big type will be
important to seeing the point of the exercise clearly. You don’t need
to place it perfectly at this point, you’ll have the chance to move it
later.
3. Invert the order of the Copyright and Snapshot layers so that the
Snapshot is above the Copyright layer, then make a clipping group
from the two layers. At present you will see no change in the image.
The next several steps will add effects to make the type stand out.

You may have noticed that as we go along and have done things
once or twice I give fewer details. For example, here I am not telling you
how to invert the order of the layers or how to make the clipping group.
This is because I assume that you are absorbing some of the materials
as we go along, and if I always tell you everything you might get a little
lazy, clicking buttons and pressing keys and never remembering a thing.
You may occasionally have to look back to earlier exercises or tables for a
reminder of how to do something.

4. Add a levels correction to the clipping group to lighten the Snapshot.
To do this, hold down the Command Option Shift/Ctrl Alt Shift
keys and click the Create a New Adjustment or Fill Layer menu
button on the Layers palette, then choose Levels from the menu that
appears. Holding down those keys will open the New Layer dialog.
Check the Use Previous Layer to Create Clipping Mask checkbox,

56

Layer Management

and click OK to create the layer. When the layer is created, locate the
Adjustments palette, and push the Center/Gray Levels slider to the
left to lighten the Snapshot layer. You will want to move the slider to
about position 2.0.
5. To give the copyright more relief, add a drop shadow to the
copyright. To do this, activate the Copyright layer, and then choose
Layer Layer Style Drop Shadow. The Layer Styles dialog will open,
but just accept the defaults by clicking OK.
6. Catch up on your layer numbering, as we have been remiss! Number
the layers in order of creation. At this point, your layers should look
like Figure 2.23.

FIG 2.23 With this setup, we are
almost ready to start seeing what
linking layers does.

7. Activate the Copyright layer. Choose the Move tool and be sure the
Auto-Select option in the Options bar is not checked.

57


8. Move the copyright around in the image and watch what happens.
The type glides around under the Snapshot layer and reveals
different parts of the snapshot layer as it moves. If you wanted the
Snapshot to move with the type, you could link them and they
would move together … but that wouldn’t make much sense for this
image. Move the type where you want it to be. Now lets look at the
advantage of linking.
9. Click on the 2 Clipping Mask layer to activate it, then hold down the
Command/Ctrl key and click on 1 Burn Source and 4 Snapshot to
highlight all three layers. Click on the Link button at the bottom of
the Layers palette. Your layers should look like Figure 2.24.

FIG 2.24 After layers are linked, they
will have a Link icon to the right when
any of the linked layers is active.

10. Click on the 2 Clipping Mask layer so that it is the only one of the
linked layers technically active. Then click and drag on the image.
Watch the layers, where you’ll see the three linked layers moving in

58

Layer Management

unison, and then look at the image where … oops. Something went
wrong. It looks like we left off something that needed to be linked.
The Background needed to be included in the linked set, otherwise
you get misregistration. You can try to align it, or just stop where
you are and undo the movement in the History palette, or choose
Edit Undo (Command Z/Ctrl Z).
11. The Background layer can be linked as it is, but you won’t be able
to move any of the linked layers then, as it is locked. You need to
double-click the background to change it into a regular layer, and
then link it (or link and then unlock—either way will work). To add to
the linked layers, any of the linked layers and the Background need to
be active at the same time. To do that, click on 2 Clipping Mask and
then Command/Ctrl and click on the Background. Once these two
layers are active, click the Link button. A Link icon will be added to
the Background layer. See Figure 2.25.

FIG 2.25 With all of the layers you
need linked, the result will be much
more predictable and all will remain in
registration.

12. Click the Background so it is the only active layer, then click and
drag with the Move tool in the image and you will see that all four of
the linked layers move in perfect unison while they glide over and
around the copyright text.

59


The key here is that these layers are not consecutive in the Layers palette, and
linking allows you to control their registration regardless of the order of the
layers in the palette. Linked layers can even be in separate groups … so the
plot thickens. Would you really work with an image this way, sliding it out of
the image frame? Well, no, not exactly like that. You would more likely have
objects grouped, and the background is substituting here for an object for the
sake of discussion. However, one last thing I have not mentioned.

13. With the Background layer (Layer 0) active, choose Edit Free
Transform. Hold down the Command/Ctrl key and click and drag
one of the corner handles of the transform box an inch or so in any
direction. When you release, all of the linked layers will transform at
the same time.

So you would also be able to take your linked objects in nonconsecutive
layers and distort and reshape them in one move—in perfect registration. You
may be beginning to see the value of linking. It is not likely that you will be
using it often, but when you need it, it serves a unique and powerful purpose.

If you still have the transform box active from the exercise, click on the Cancel
Transform button on the Options bar or press the Esc button on the keyboard.
Keep this image open for the next exercise.

Smart Objects
Smart Objects were a new layer type introduced in Photoshop CS2. You
merge layers into a Smart Object similar to the way you create a layer group
(see the Convert to Smart Object command on the Layers palette menu), and
the resulting Smart Object acts like a merged layer and a group at the same
time—though the content is handled much differently compared to a group.
The kicker is, the contents in the layer are not actually merged: the contents
are stored in a separate PSB image. You can access the content and make
changes, but to edit the content, you double-click the Smart Object layer
and the content of the object opens as another image. You can then save the
object as a PSB (Photoshop Object) and use the objects in other images.

Smart Objects can be really handy if there is some type of layer grouping that
you use in different images. For example, say in your exploration of layers you
hit on a combination of Adjustment layers that seems to you to correct every
image you took in a photo session (unlikely). You could create a Smart Object
from the layers, save it, and then incorporate it into all of the other images
from the session. Another more probable use is developing templates. For
example, say you were selected to shoot some youth league team pictures.
You might make a frame like a baseball, softball, or soccer sports card and
then import it to the individual team player shots. Simpler uses might be for

60

Layer Management

things like … a copyright, which we’ve touched on a few times already. But
the really interesting thing about doing something so simple with a Smart
Object is, you can make one object and use it in different images, size and
change it, and never alter the original.

Try it Now
1. Start with the image from the last exercise as left off in Figure 2.25.
2. Click on the Copyright layer to make it active.
3. Remove the Drop Shadow effect for the layer. You could leave this in,
but in this image it will cause some issues, and you may not always
want to use a drop shadow. Best to apply effects as needed. To
remove the effect, and as we’ll be using it again, Command click/
Right-click on the FX symbol and choose Copy Layer Style. This
will put the style on the clipboard, effectively saving it so it can be
reapplied. Then Command click/Right-click and choose Clear Layer
Style. This removes the style from the layer.
4. Convert the Copyright layer to a Smart Object. To do this choose
Convert to Smart Object from the Layers palette menu. The layer
will convert to a Smart Object (see Figure 2.26).

FIG 2.26 The Smart Object layer has
a small icon in the lower right of the
thumbnail. The thumbnail shows a
preview of the Smart Object.

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5. Command click/Right-click on the Smart Object and choose Paste
Layer Style. This will reapply the style you removed.
6. Double-click the thumbnail for the Smart Object. This will open
an alert/dialog that explains a little about working with the Smart
Object. Click OK. The content of the Smart Object will open in a new
document window (see Figure 2.27).
7. When the Copyright is open, choose the Type tool, and change 2009
to 2010.
8. Save and close the Smart Object image. When you close it look at
the image you were working on … the date will have changed. See
Figure 2.28.

FIG 2.27 Do read the alert! It gives you some information about how the Smart Object works.

FIG 2.28 The change to the Smart Object is updated to the image when it is saved.

You can resize the Smart Object in the image where it is placed using
transform, scaling, rotation, and more, and the original is unaffected. Multiple
instances of the same Smart Object in an image can be updated at one time if
the Smart Object is duplicated in the image (as you might do with buttons in
web design or other graphic elements). Smart Objects can also be imported
to an image. These can be files you’ve created in Photoshop and saved as
Smart Objects (like our copyright), other image files (PSDs, PDFs, TIFFs, JPEGs),
or graphic elements that you may have created in a dedicated illustration
program like Adobe Illustrator. To import a graphic as a Smart Object, use the
Place command in the File menu (File Place). The Place command is what

62

Layer Management

you would use to import a card design to multiple images (discussed briefly
earlier as a possible use of Smart Objects). The original objects, again, remain
unchanged after you place them in another image, and you can edit them
and update the placed objects, or leave them as is. Smart Objects have many
creative uses in graphic development and making presentation templates
or custom printing sheets, but have fewer uses when it comes to image
correction.

Summary
We have only just begun to explore some of the more serious functionality
of layer creation and organization in this chapter. With the basics you have
learned here you should begin to see some possibilities for organizing your
layers in four types of groups (Groups, Clipping Groups, Linking, and Smart
Objects) and should begin to see the flexibility of adjusting content in the
layer stack. Coupled with layer naming, you have all the tools you need to
keep your layers in order and sensible as a record of your corrections. We will
look at examples throughout the book that reinforce these basic exercises in
real-world editing situations and image correction, starting with the very next
chapter, in which we begin to explore using layers to isolate image areas and
objects in your images to facilitate correction.

63

CHAPTER 3

Object and Image Area
Isolation in Layers

O ne of the fundamental values of working in Layers is isolating image
areas for change. This gives you the freedom to correct image areas
independently and revisit changes as part of image development and work
flow. Once you use layers to isolate changes, you can make adjustments and
then fine-tune the adjustments in nondestructive ways that are impossible
using selection alone.

Layers allow you to isolate changes in many different ways. In fact, the bulk of
this book is really dedicated to describing how different layer features enable
change in images. This chapter looks at the simplest concepts behind isolating
change and the nondestructive editing work flow, including the purpose and
use of Adjustment layers, and the idea of isolating objects and areas within
images in the simplest form. As we go, we’ll look at several key concepts for
image correction that apply to just about any image you will work with to
form the core of your correction work flow. This includes adjusting dynamic
range, color correction, and color balance as an initial application of layers in
your images.

65


The idea of light leaving a Isolating Correction in Adjustment Layers
fingerprint is something
Adjustment layers are based on correction functions, but instead of applying
I talk about to teach the
the adjustments directly to the image, adjustment settings are retained in a
idea behind the theory.
If you talk with other separate layer that you can readjust later, temporarily hide, or even remove
people who are not at any point in the processing. The ability to change your mind later is key to
familiar with this book nondestructive work flows. The point again is that the correction or change
about “light’s fingerprint,” remains distinct within the layer stack and never directly changes the original
there is a good chance image pixel information.
they will have no idea
what you are talking One of the first steps that I suggest in working with any image is making
about, unless they a general Levels correction. The correction helps make the most of the
have read this book or dynamic range (brightness from white to black) and helps establish color
attended my classes. balance that can bring out richness in image color. The technique of Levels
correction applies to the whole image, but on occasion may apply to isolated
image elements as well. In this case, the Levels correction is a useful way to
demonstrate a simple application of Adjustment layers. This correction works
on just about any image, and sometimes really works wonders.

Corrections work better from general to specific. Instead of attacking
specific issues first, be sure you have made good general corrections. This
will keep you from making changes to multiple parts of an image when a
general correction would have sufficed.

First, let’s look at some background theory about how the correction works by
learning something about what I call light’s fingerprint.

Light’s Fingerprint
When an exposure is captured, the camera captures a fingerprint of the
lighting for the scene. Natural lighting at sunset or sunrise, when lighting
tends to color objects with warmer tones of yellow and red, is an example of
light creating an effect in a scene. But, taking that further, if your light is pure
red, everything in the room will reflect only the red light, and everything (with
any red in it to reflect) will appear red. Objects with no red at all will appear
black.
Objects in a scene reflect the quality and color of the available light. If the
light isn’t completely neutral (with even amounts of red, green, and blue
light), lacks full spectrum (absolute black to absolute white), tends to favor
a particular color over a range of tone, and/or has multiple light influences
(different colors of ambient and direct light, for example), the scene reflects
those qualities of the light. As a scene can reflect only the colors in the
original light source(s), a capture serves as a reliable fingerprint of the general
qualities of the lighting in the scene.

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Object and Image Area Isolation in Layers

This fingerprint is a valuable clue to detecting the correct color for your image.
If you examine the fingerprint and learn how to read it, you can identify
deficiency of the light, and you can correct image color.

Image Histograms (found by looking at the Histograms or by looking at the
Levels dialog) are exactly what you need to evaluate the quality of the light and
the fingerprint it has left on the scene. A histogram (see Figures 3.1–3.3) shows a
definitive mapping of exactly how the light fingerprint reacts with the objects
in the scene. By examining light’s fingerprint as a clue, we can easily determine
how to correct image color.

This Levels correction can work wonders on an image, and it is useful in
almost any image. The changes compensate for exposure and lighting
conditions and improve color balance and the dynamic range of images,
without a lot of complicated measurement. In fact, in most instances you
don’t even have to look at the image to make the adjustment. The results
are nondestructive, as the correction is made in layers. The following section
outlines the details of how to make that levels change.

Detailing the Levels Slider Changes
Making the Levels slider adjustments is a fairly simple process, once you have an
outline for what to do. The histogram on the Levels dialog will become your visual
guide to all you need to know to make the basic adjustment. Additional changes
can be made that reflect user preferences once you get used to using the tool.

The characteristic to look for in Levels histograms is shortened tonal range.
Shortened tonal range is represented by a histogram that does not have
information (or so little consistent information that it is more likely image
noise than detail) across the entire range of the graph, with a gap at either
the light end (right, highlights) or the dark end (left, shadows) of the graph
or both. A shortened tonal range in any of the channel components indicates
that the light source was not full spectrum.

Levels is an extraordinary tool for making adjustments in this situation. All
you do to correct a shortened range is move the sliders (black/shadow and
white/highlight) to maximize the range of each component. Move the right,
white, slider to the left to a position at which the graph shows anything more
than image noise; this will make whites brighter. Move the left, black, slider
to the right, again to a position at which significant information is displayed in
the graph; this will make shadows darker. See the examples in Figures 3.1–3.3
for the Red, Green, and Blue channels.

After setting the sliders, you commit your changes by clicking OK on the
Levels dialog. The tails and anything outside the range of the black and white
sliders are cut off, and the image information will be redistributed over the
tonal range. The new range of the graph is extended as in Figure 3.4.

67


FIG 3.1 The Red histogram shows
a full range from black to white and
needs no adjustment.

FIG 3.2 The Green channel shows a tail to the left, or shadow portion, of the green spectrum. To make the adjustment, move the black (left, input) slider to
the right to compensate and clip the tail as shown.

68


FIG 3.3 The Blue channel also shows a tail to the left, or shadow portion, of the spectrum. Move the black (left, input) slider to the right to
compensate as shown.

FIG 3.4 The image information is
redistributed evenly after Levels
changes are accepted so that the color
range is broadened.

69


Let’s take a look at the correction in a hands-on exercise.

Try It Now
Applying Levels for Color Correction

1. Open the image you want to correct. For this exercise, open
Sample_4.psd on the CD.
2. Choose Layer New Adjustment Layer Levels. This opens the New
Layer dialog box.
3. When the New Layer dialog appears, leave the defaults and click
the OK button. This will accept the settings, create a new Levels
Adjustment layer, and display the Levels dialog controls in the
Adjustments palette.

Display the Adjustments palette by choosing Adjustments from
Photoshop’s Window menu. The Adjustments palette is new to
Photoshop for CS4.

4. Select Red from the Channel drop-down list. This reveals the
histogram for the red component. See Figure 3.5.
5. Make a Levels correction for the component. Do this correction by
evaluating the histogram and moving the sliders. See Figure 3.6.

FIG 3.5 Your histogram in the
Adjustments palette may look
somewhat different depending on
your color settings, but it should
display an obvious tail to the right of
the graph for the Red channel in the
Sample_4.psd image.

70


FIG 3.6 Make the correction for the
tail by pushing the white slider to the
point in the graph right where the
graph begins to ascend. Err toward the
tail, not the graph, as every bit of detail
that falls to the right of the white
slider and the left of the black slider
represents lost image information and
potentially lost details.

6. Repeat step 5 for the green component. Do this by selecting Green
from the Channel drop-down list and making the Levels correcion. See
Figure 3.7.
7. Repeat step 5 for the blue component. Do this by selecting Blue from the
Channel drop-down list and making the Levels correction. See Figure 3.8.

FIG 3.7 The changes to all three
channels in this image are somewhat
similar. It is not always the same for
every image; sometimes the individual
channels are very different.

71


FIG 3.8 Working with the separate
channels as described will fix accurate
black and white points in the image
as well as performing a general color
balance based on the dynamic range
and fingerprint of the light.

8. Make a tone adjustment to the image midtones. To do this, choose
RGB from the Channels drop-down list and make an adjustment with
the middle (gray) slider to brighten (left) or darken (right) the image.
See Figure 3.9.

FIG 3.9 Brightening or darkening the
image is more subjective than channel
adjustments and is up to the viewer.
Be sure you are making judgments on
a calibrated monitor.

72


You can compare the before and after for the correction by toggling the view
for the Levels Correction layer (click the Eye icon just to the left of the layer in
the Layers palette). This Levels adjustment for the three channels is one you
can often make almost strictly by looking at the appearance of the histogram
and adjusting it accordingly—without looking at the image, just as we have
done here. If you toggle the Show/Hide icon for the layer on the Layers palette
as suggested, the change in the image should appear to improve image
dynamics, contrast, and color.

A Levels adjustment will not always work well with images that have
inherent color casts (sunsets) or when color filters have been used to
achieve color-shifting effects that are desired, as it will tend to counteract
the desired color shifts.

Tails on the histogram usually represent image noise rather than image detail,
which is why you can generally cut an entire tail. However, sometimes you will
crop none, some, or all of a tail, depending on the image, desired color shift,
and length of the tail. Usually you cut less of a very long tail. After making the
Levels adjustment for each of the channels, evaluate the change by eye, on
screen (preferably on a calibrated monitor!). If the changes seem extreme,
you can moderate them by changing the position of the sliders in the Levels
layer (click it to show the current settings in the Adjustments palette) or by
adjusting the opacity of Levels layer. Lowering the opacity will reduce the
intensity of the correction. These after-the-fact adjustments could not be
done if the Levels were applied directly to the layer content. Try the following
exercise, continuing from the last step in the previous exercise.

Try It Now
1. Click on the Levels adjustment layer to be sure it is active.
2. Change the Opacity of the Levels 1 layer to 50 percent using the
Opacity slider on the Layers dialog.
3. Duplicate the Levels 1 layer and name the duplicate Levels 2.

This is a really simple example of something Adjustment layers allow you to
do: compare two results. Toggle the view for the Levels 1 layer off and on, and
that will allow you to see the difference between applying the Levels change
at 50 or 100 percent. But the next steps are truly unique to Adjustment layers.

4. Change the Opacity of Levels 2 to 100 percent and toggle the view to off.
5. Change the Opacity of the Levels 1 layer back to 100 percent.
6. Click the Levels 1 layer thumbnail. The Levels adjustment settings will
display in the Adjustments palette.

73


7. Adjust the midtone RGB slider to brighten or darken the image.
8. Take a Snapshot using the History palette (open the History palette
and click the Create New Snapshot button). It will be named
Snapshot 1.
9. Toggle the view for Levels 1 (to off ) and Levels 2 (to on).
10. Take a second Snapshot.
11. Click on Snapshot 1 and then Snapshot 2 in the History to compare
the two adjustments.
12. Toss out the Levels correction you don’t want by dragging it to the
Trash in the Layers palette.

This is unique, because if you applied the Levels correction directly to the
Background without using an Adjustment layer, you’d have had to write
down the changes you made, undo the changes, and redo them. That is the
advantage of Adjustment layers in a nutshell: you can make repeated changes
and comparisons to your adjustments without starting over. Even in this
simple exercise, it saves several steps; in a more complicated correction, you
can multiply the savings exponentially.

Even more advanced adjustments can be made with Levels using the center,
gray, sliders for each channel. Moving these sliders allows you to adjust
midtone color balance. However, using a separate correction for Color Balance
will give more control and a better overall result. We will look at Color Balance
later as we get more specific with corrections.

Keep that image handy; either save a version with the Levels correction or
leave it open for the next exercise. Now let’s look at how layering can be an
advantage in isolating objects.

Isolating Image Objects
Isolating image elements is simply moving objects to separate layers so the
objects can be controlled individually. The basic idea of isolating objects in
your image is as easy, conceptually, as making a selection of an image area
and then copying and pasting that image area to its own layer. The ability to
create the isolation and execute it in a controlled way can give you ultimate
control over image composition.

To complete basic isolation of an object, you will use any one of the selection
tools—or a combination of them—to create a selection. Once the selection
is created, you can copy the content of your selection to the clipboard (press
Command C/Ctrl C (Mac/PC)) and then paste it back into the image (press
Command V/Ctrl V). Photoshop will automatically make a layer and insert
the content from the clipboard. Other methods, such as Command J/Ctrl J
(New Layer Via Copy) or Command Shift J/Ctrl Shift J (New Layer Via

74


Cut), will also work to create the new layer from the selected area. The method
of getting the area selected is less important than getting the area isolated on
its own layer.

With the object isolated, you will be able to target changes more easily to that
area directly. Because of the isolation, you will be able to do this in a variety
of ways, using additional layers or using later techniques that we will explore,
such as clipping groups or masking. Isolating a single element in an image
is relatively simple, and it can open the door to many other image changes.
Sometimes it will be desirable to take apart an image into a variety of smaller
components for the sake of correction and/or composition adjustment.
Although it may seem that taking an image apart object by object can be a
pain, it is not something you will do with every image; but when necessary it
can lead to better corrections and more flexibility with the end result.

For example, Figure 3.10 shows the same still life of some pears used in the
Levels adjustment exercise. This image was shot on the spur of the moment.
There were probably about 20 images in the series, and admittedly it didn’t
seem any of them represented what was desired—as sometimes happens.
Though I didn’t get exactly what I wanted, it seemed that instead of setting up
the shoot all over again, I could alter the result by making some changes to
the composition.

FIG 3.10 The original shot of some
pears on an old crate. It seems too
crowded, and begs experimentation.

To make the desired changes I broke the image down into several
components to handle separately: the background, the foreground wood, the
wood plateau, the two pears to the right, and the pear to the left. Ultimately
the pear to the left was eliminated by the change, giving the image a bit more
starkness. I borrowed color from the pear that went missing, and stems were
borrowed from other images. The breakdown of steps to re-create the image
and the resulting layers are shown in Figures 3.11 and 3.12.

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FIG 3.11 (1) The original, (2) a new
background, (3) fabricated wood top,
(4) copied wood face (with repairs),
(5) two pears isolated, (6) pear pair
enhanced, (7) pear pair recolored, and
(8) two pears flipped and positioned.

You will rarely go to such lengths as rebuilding an image to get the result you
want, but you may see a key here in getting what you need, and part of the
advantage provided by layers. The separation of objects goes one step further
than merely selecting the object and copy/pasting it to its own layer. Once the
object is isolated, you put yourself in position to have ultimate control of the
composition. See the result in Figure 3.13.

One key point about making such adjustments: there is a difference between
photography and shooting a picture. In your photography, you can remove
an object from a scene by just moving it out of the camera’s view, and the
background fills the space. When you isolate an object in Photoshop layers,
the layer from which you plucked the object either still contains the object
or has a hole where it was. The background doesn’t magically reappear when

76


FIG 3.12 The actual layers used in
the adjustment, roughly reflecting the
numbered steps in Figure 3.11—some
of the steps take several layers to
complete. More advanced techniques
included here, such as clipping and
masking, will be looked at in later
chapters.

FIG 3.13 The final result is cropped,
color corrected, patched, and
reorganized using the power of layers.

77


the object is removed. In the case of the example, the background is pretty
simple, and it can be repaired by re-creating it. Making the repair to patch the
hole left behind can be more difficult as the complexity of the background
increases. But to build some confidence in the strategy, let’s look at how it
applies to the sample image continuing from the point at which you left off in
the last exercise.

Try It Now
1. Choose the Polygon Lasso by pressing L and Shift L to scroll the
Lasso tools, or choose the Polygon Lasso from the toolbar. Change
the settings on the Options bar to Feather 0 Pixels, and check the
Anti-alias box.

Feather and Anti-alias are both means of softening the edge of the
selection and do not usually need to be used together. Softening the
selection either way will tend to blend the edges of selections with the
surrounding area rather than making hard, noticeable edges.

2. Open the image window so you have some room around the edge of
the image to apply the tool (Figure 3.14).
3. Make a selection of the wood facing. To do this click outside of the image
to the left, then move the cursor and click right at the top of the facing at
the edge of the image. Continue moving and clicking across the top of
the facing, following the contour of the wood. When you reach the right
side of the image, click outside the image, then outside the lower right
corner of the image, then outside the lower left corner, and then on the
starting point to complete the selection (see Figure 3.15).
4. Activate the Background by clicking it in the Layers palette, then
Copy and Paste to create a new layer with the wood facing. Name the
new layer 2 Wood Facing.
5. Activate the Background layer again. Create a new layer and fill
with black (Edit Fill Set Content to Black). Call the new layer Black
Background.
6. Shut off the view for the Black Background layer so you can see the
pears.
7. Select the Polygon Lasso tool, and use it to follow the contour of the
two pears to the right of the image, using short segments between
clicks (see Figure 3.16). You can use other selection tools if you feel more
comfortable. The goal is to isolate the pears. Technically you will not
have to make an incredibly tight selection around the part of the pears
that is over the black, but try to make the selection as tight as possible.

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8. Activate the Background layer, Copy, and then Paste. This will create a
new layer with the pair of pears. Name the new layer 4 Isolated Pears.
9. Move the 4 Isolated Pears layer above the 2 Wood Facing layer in the
layer stack, and turn on the view for the Black Background layer. The
layer stack should look like Figure 3.17.

FIG 3.14 Depending on your
setup in CS4 new features may
already show the image in a larger
window. To test out resizing, choose
Window Arrange Float in the
Window menu. When the image is
floating, click and drag the image
window controller at the lower right
of the image to make the document
window larger.

FIG 3.15 Going outside the
boundaries of the image with a
selection tool (as shown here) will
make sure you select tightly to the
edge of the image.

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FIG 3.16 Using short segments with
the Polygon Lasso can make a selection
that is rather smooth and is fine for the
purpose of this exercise.

FIG 3.17 In a few quick steps, the
components of this image are isolated
into separate layers.

This simple example isolates the pair of pears and gives you the freedom to
move them in the image and change the composition. Using the Move tool,
try placing the pears in a different position, or even flip the pears horizontally
(Edit Transform Flip Horizontal). You’ll want to either keep this image open
or save it to continue with the exercise in the next section.

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The basics of re-creating the pear image required isolating each of the
image areas and/or replacement of those areas with suitable substitutes. The
additional effort of re-creating the image proves more fruitful than trying to
do something such as stamp out the pear on the left with the Clone Stamp.
It would be painstaking to fill in the area behind the pears using the Clone
Stamp and make associated repairs look right. It is worth trying to make the
Clone Stamp correction to see what I mean. Inevitably it would look uneven,
blotchy, and repaired. Re-creating the entire black background from scratch
does several things, including providing the opportunity to remove any
distracting imperfections from the black background. It is also a lot quicker.

Of course this replacement is not perfect. We could build back in the wood
platform and add noise to the background to make it appear more like the
original. In the pear example in Figures 3.11–3.13, I used quite a few different
types of layers, some which will not be apparent by the screenshot of the
Layers palette alone. Some of the layer changes employ Modes, which we
will look at later in Chapter 5, and more than one includes a mask or clipping
group, which we will look at in Chapter 4. As these techniques are covered
in later chapters, it isn’t appropriate to cover them here, but we will look at
similar examples in chapters to come.

Adding Layers for a Change
Layers that act like Adjustment layers because they serve to make changes
in the image, but actually are also similar to isolation layers, can be added
to an image. Objects are added to separate layers, either from scratch (using
Paintbrush, Clone Stamp, or Healing tools) or as image areas (copied from
other images or even cloned from elements in the same image). The objects
are added to layers to give freedom in adjusting, positioning, repairing, and
replacing objects, as well as offering flexibility in masking and positioning in
front of or behind other image elements in the layer stack.

Additions for change in the example are represented by layers such as the
Remove Glare layers in Figure 3.12. For these adjustments, new layers were
created, and then repairs were stamped over select areas of the pears using
a combination of the Clone Stamp and Healing tools. Pear stems were
borrowed from different shots in this same series of images so the stems
would reflect the same or very similar lighting qualities. Color adjustments
were added by sampling color from the pear that was removed and painting
it back over the existing pears using different layer modes (which, again, we’ll
discuss in Chapter 5).

The most obvious use for this type of “added change” layer is to repair damage
or to patch plain ol’ ugly areas of an object or area. You could do this directly
to objects without adding layers, but keeping the changes separate in
layers offers opportunities that you would not have with direct, permanent
application of image changes.

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Simple Layer Repair Example
If you still shoot film, have tried to convert old photos to digital, or have ever had
a dirty sensor or lens, you will be no stranger to correcting minor imperfections
in your images that come in the way of dust and debris. Digital shooters may not
see as much dust as they see other minor imperfections in their images, like litter,
crumbs, etc., though sometimes they might see annoying and persistent spots
resulting from dust on the sensor. You can often make quick work of dust and
minor debris corrections, no matter where it comes from, by applying the Clone
Stamp or Healing tool directly to an image background. However, applying these
corrections to a blank layer offers much more flexibility. Once you are sure the
correction is the way you want it, you can commit the change by merging the
layers, or just leave them in separate layers. The advantage here is that if you
muff up part or all of the correction, you still have the opportunity to fix it. You
also have the opportunity to use tools in combination with one another such as
using both the Clone Stamp and the Healing tool for a correction.

The pears in the example image we are currently working on had some obvious
imperfections that needed to be taken care of. Of course, you could do this before
taking the image apart into separate objects. One large dent in the middle of the
three pears needed some fixing. This is taken care of with simple layered repair.

Try It Now
1. Continuing from the previous exercise, create a new layer above the
4 Isolated Pears and call it 5 Clone Stamp.
2. Create a new layer above the 5 Clone Stamp layer and call it 6 Healing.

If you are unsure of the positioning of the Cloning and Healing layers,
see where they are in Figure 3.18.

3. Shut off the view for the 1 General Levels Correction layer; leaving
the layer visible may affect cloning corrections.
4. Activate the Clone Stamp layer by clicking on it in the Layers palette.
Choose the Clone Stamp and set the options to Sample All Layers—if
you don’t, it will not stamp to a blank layer. Apply the tool to make a
correction of the damaged areas.

To apply the Clone Stamp, note the color and shape of the damage,
and try to find a spot in the image that will make a good replacement.
Set the brush size to just slightly larger than the width of the problem
area, and use 50–80 percent hardness (leaving a soft edge to blend

82


corrections). Usually I set the tool to Aligned (check the box), which keeps
the alignment angle and distance between the brush and the sample
point constant. Sample the area you will be using to replace the damage
by holding down the Option/Alt key and clicking on the area. Move the
brush over the damage and apply. It is best to apply in short bursts, and
it is a good idea to resample from different areas often to avoid obvious
patterning and to blend in texture, contour, and detail from multiple
directions. Doing so will help create unique corrections of the areas.

5. Activate the Healing layer by clicking on it in the Layers palette, and
then choose the Healing tool. Set the brush and Options like you
did for the Clone Stamp, but make the brush 100 percent hard—the
nature of the tool blends in the application. Make a sample and apply
the tool to make a second correction over areas corrected with the
Clone Stamp to blend in the corrections.

The resulting layers and image can be seen in Figures 3.18 and 3.19, and you can
check your work against the Sample_4_corrected.psd image on the CD.

FIG 3.18 The Layers palette shows
the separate correction layers for Clone
Stamp and Healing. Be sure to clone
and heal to the blank layers with the
tools set to Sample All Layers in the
Options bar.

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FIG 3.19 If you shut off the 4 Isolated
Pears layer, you can see what the
Cloning and Healing layers look like
without the rest of the pears.

Applying the Healing tool directly to a problem can lead to similar results, but
it has been my experience that applying the Clone Stamp first to neutralize
the ugliest part of the damage and then applying the Healing tool will yield
better results (less noticeable edges) more consistently.

The most difficult parts of this correction will be the damage near the edges of
the pears—where the pears meet the black of the background. The problem
will be that the Healing tool will try to do too much: it will pull in some of the
black background as part of the repair that it tries to make. There are several
things you can do to eliminate this problem:

●
Use only the Clone Stamp in those areas near edges.
●
Make a selection around the area you want to correct to exclude the black
from the background.
●
Make a selection around the area you want to correct, including the
replacement area, then isolate that on its own layer via Copy/Paste (see
Figure 3.20). You can shut off other layers to limit what sampling takes into
account, or change the tool option to Current Layer so that only content
from the current layer is sampled in the repair.

Following these techniques you can make freehand corrections to this image
in infinitely different ways, each equally as convincing. Check your handiwork
by toggling the view for the correction layers. You may want to group them so
you can toggle the view as a group. This will let you compare before and after,
and should you want to flip the pears horizontally, you can flip the whole
group (see Figure 3.21).

84


FIG 3.20 A distinct advantage of
using Healing with layers is that you
can limit what gets sampled for use in
the correction.

FIG 3.21 This shows the final layer
set for this set of examples, including
the Isolated Edge layer and Pears and
Corrections grouping.

85


The Art of Color Balance
Although Levels are excellent tools for normalizing color, they may not always
produce the best correction for color casts if you use them only to extend the
dynamic range. A tweak to color balance will often do quite a lot to enhance
your image’s color.

The idea of the Color Balance function is to allow you to shift the balance
between opposing colors: cyan balances against red, green against magenta,
and blue against yellow. These adjustments can be made using separate
ranges: highlights, midtones, and shadows. Working through a Color Balance
correction by gauging the changes on screen can often clear up muddy
appearances caused by lighting conditions. The Color Balance dialog is a
friendly, easy way to make these changes. Rather than trying to calculate a
result, you’ll work with Color Balance interactively. The goal is to achieve more
vibrant, balanced color.

Try It Now
1. Open the Vanishing Point.psd file on the CD. This image was
originally provided in the Samples folder in the Adobe Photoshop
CS3 program folder and on the installation CD with the Sample
images.
2. Treat this as a new image and do a Levels correction as described
earlier in this chapter. You won’t be able to do to much, but you’ll see
a small change in the image.
3. Open Color Balance by choosing Color Balance from the Adjustment
Layers submenu (Layer New Adjustment Layer Color Balance).
4. Start with the Midtones (under the Tone Balance panel), and slide the
Cyan/Red slider between 50 and 50, watching the effect on the
image. Narrow down the range that looks best by swinging the slider in
smaller ranges until the best position is achieved based on the screen
preview. The “best” position is where the color seems most balanced
against the extremes (which you use 50 and 50 to preview).
5. Repeat step 4 for the Magenta/Green slider.
6. Repeat step 4 for the Yellow/Blue slider.
7. Click the Highlights radio button on the Color Balance dialog and
repeat steps 4 through 6. This will make adjustments to Color Balance
for the Highlights.
8. Click the Shadows radio button on the Color Balance dialog and
repeat steps 4 through 6. This will help you make adjustments to
Color Balance for the Shadows.
9. Repeat steps 4 through 8. This will allow you to review earlier
adjustments in the context of the changes you made to the Shadows.

86


The steps here might seem an oversimplification, but this is really all you have
to do with Color Balance to achieve the desired result. The critical part of this
exercise is that you have to be able to trust your monitor, so it will need to
be calibrated (and hopefully tested against output as well). Depending on
your choices, the Vanishing Point.psd image will show a dramatic difference
after Color Balance, even with small movements of the sliders. Changes will
influence color, saturation, dynamics, and even details in the image. You can
see the effect on details usually in the highlights (the back of the dog’s head—
or if you try to apply a Color Balance change to the pear image, you will see
some variation in the specular highlights where the light is reflecting from the
source). The color result of a correction on the Vanishing Point.psd appears in
the corrections on the CD. You’ll want to toggle the view for the Color Balance
1 layer to see the difference before and after the application. Figure 3.22 shows
the Color Balance settings used to make the change.

Summary
In this chapter we have begun to use Layers to actually make a difference in
image appearance, first with an isolated Levels correction, then with isolating
objects in the image for control of the composition, and then for making
isolated corrections. The Levels correction and Cloning/Healing corrections
are techniques you can use on virtually all your images. Object isolation may
not be something you will do every day, but the basic concept of isolation is
something you may use all the time—actually we used a variation at the very
end of the section on Healing corrections by isolating the edge area.
Thinking about your images and your corrections as made up of separate,
layered corrections is the key concept that should be coming across
here. Layers offer opportunities for isolated correction. Separation poses
advantages while making the change, as well as having additional advantages
once the correction has been created, in that it can be changed later.
Changes to this image need not be limited to the corrections shown in this
chapter, and other corrections can certainly be considered. Think about
what you would like to see in this image, and imagine how that requirement
might be solved with additional layers or those you have already created.
Attempting to make some or all of those additional changes is good practice
with layers. In fact even practicing thinking about how you will make
corrections (and specifically what corrections you want to make) will help
make you better at applying changes and choosing techniques.
A valuable thing to do with the information in this chapter is to begin applying
the changes to your own images. Choose one or more of your images and
test out selective enhancements using layers. You don’t have to do everything
from this chapter to every image, but you should make an attempt to try out
everything to see how the techniques might apply to your corrections:
●
Start with making a Levels Adjustment layer to correct image color.
●
Attempt to isolate an image area by selection, copy, and paste.

87


FIG 3.22 Color Balance influences many parts of the appearance of your
images. When it is corrected for this image, the scene will appear to gain
some depth of color.

88


●
Adjust the position of an object if you are really daring. See what it does to
the image and if you can make it work.
●
Locate some image area(s) that you want to improve with simple cloning
corrections, and create new layers to help you incorporate the change.
Then stamp out and heal problem areas.
●
Fine-tune color and remove color casts with Color Balance.

Keep in mind that working with additional images can be an exercise without
a real goal of achieving improvement in the image: it is enough at this point
to perform the techniques as exercises or practice. Do, however, make serious
corrections if they are warranted in your images to exercise the true value of
layers.

If you have additional questions about the techniques, visit the forums at
photoshopcs.com to discuss how to use the techniques and ask questions.

89

CHAPTER 4

Masking: Enhanced Area
Isolation

I n the previous chapter we looked at using Layers to isolate image
corrections and target changes. That chapter covered the idea of applying
corrections via separate layers, using Adjustment layers, and isolating image
objects on their own layers. This chapter looks at some additional types
of isolation using layers and masking to create flexibility with layers and
correction.
Masking provides power in correction. Simply put, masking blocks off areas
of an image from change or hides them from view. It is similar to masking off
woodwork when you go to paint a room or masking windows and chrome when
you go to paint a car. Masking is different from erasing image areas, as erasing
is permanent (destructive) removal; using masks hides pixels temporarily and is
nondestructive. One of the most basic types of masking is something we did in
the exercise at the end of Chapter 1. In that exercise we used a duplicate of the
Background layer to mask the Drop Shadow layer (see Figure 4.1).

More sophisticated means of masking are comparable to the simple masking
we explored in the exercise, just with more finesse. All types of masking

91


FIG 4.1 The simplest type of masking with layers is using the content of an upper layer to hide the content of the lower—the content of the lower layer is
still there, but it is hidden from view. In this case the image masks the parts of the red shadow that run below it in the Layers palette and effectively behind
it in the image.

share the same concept: masking acts to block image content from view
without removing or destroying image content; this is unlike erasing, which is
permanent and destructive.

Expanding on Process
We have advanced in the chapters from discovering where functions are to
applying functions just for the joy of seeing them work and then to seeing
how they work to achieve a purpose. In this chapter, we’ll advance even
further by exploring functions as part of the Layers work flow working with
the image in Figure 4.2.
Looking back at our outline for correction (Chapter 2), it is a good idea to start
corrections by evaluating the image. A developed hit list of corrections you
intend to make for this image, roughly conforming to our previous outline,
might look like this:
1. Clean up pollen and dust specks.
2. Reduce the significant digital noise.
3. Enhance the natural color and tone.
4. Add soft focus to go with the softness of the image.
5. Sharpen to enhance contrast.
6. Add color enhancements (paint in color).
Though the image is not a terribly good capture, when all is said and done,
this image will have gone through enhancement to bring out what is lurking
there. The result will be something like Figure 4.3, remarkably similar to the
original capture in composition, but greatly enhanced in other ways.

92

Masking: Enhanced Area Isolation

FIG 4.2 Even though this image initially appears to be substandard, FIG 4.3 Following the corrections list, this image takes a dramatic turn
there is potential in the soft lighting and gentle tones and several for the better.
interesting possibilities to enhance.

The image may seem to need a lot of corrections, but the results will be
worth the effort and it will offer the opportunity to learn how to apply more
layer techniques. We’ll look at masking as it applies to layer transparency,
layer clipping, Adjustment layers, and proper layer masks. We’ll use layer
masking to paint in effects, affect image sharpness selectively, and change
image color selectively. Let’s take each step in our hit list in order and
explore corrections for this image fully to help you see the application of
layers in process.

Clean Up
There are some obvious detail problems in this image that can be immediately
wiped out, like the obvious dust speck and several smaller areas where pollen
has been scattered. You will want to clean these areas up using the Clone
Stamp and Healing layer techniques discussed in the previous chapter. You
can probably get everything done here with one or the other of these tools,
but you can set up the two-layer technique if you want.

93


Try It Now
1. Open the Sample_5.psd file on the CD.
2. Create a new layer and call it 1 Spot Adjustments. Choose the Healing
or Clone Stamp tool and make corrections for the obvious problems.
If you use both the Clone Stamp and the Healing tools, consider
creating separate layers for each and name them appropriately so
you can better blend the applications.

If you need more detail or to review the techniques, please see the exercise in the
previous chapter. When you have finished the cloning/healing, save the image so
you can come back to it as we continue working through the hit list. One of the
new techniques we’ll explore thoroughly here is reducing image noise.

Reducing Image Noise
There are several ways to reduce noise in your images; probably few of them
are obvious beyond the Reduce Noise filter. One of the key factors to keep in
mind when addressing noise is that noise is just the opposite of blur. You can
see this in a quick exercise.

Try It Now
1. Open a new blank image (choose File New). Be sure the image is
RGB and 1000 1000 pixels. After choosing your settings for the
new file, click OK. For settings see Figure 4.4.

FIG 4.4 The New Image dialog with settings for step 1.

2. When the image opens, fill with 50 percent gray. Use the Fill function
(Edit Fill), and select 50% Gray from the Use drop-down list. Leave
the Blend Mode at Normal and the Opacity at 100 percent (see Figure
4.5). Click OK.

94


FIG 4.5 The Fill dialog with settings for step 2.

3. After the fill, apply some noise to your image with the Add Noise
filter (Filter Noise Add Noise). When the Add Noise dialog opens,
make the Amount 10 percent and the Distribution Uniform. Leave
the Monochromatic box unchecked. When you have completed the
settings (see Figure 4.6), click OK on the dialog. Your image will fill with
noise.

FIG 4.6 The Add Noise dialog with settings for step 3.

95


4. Now open the Gaussian Blur filter dialog (Filter Blur Gaussian Blur).
Set the Radius for the filter to 25 pixels and click OK. This will mediate
all the noise you added in step 3, and you’ll be back to flat gray,
eliminating the noise (Figure 4.7).

FIG 4.7 The Gaussian Blur filter dialog with settings for step 4.

I hope that you see from this quick example that you can obliterate noise
with blur. However, applying blur to everything in your image will lead
to a blurry image. You’ll obliterate detail as well as the noise. Often you’ll
need to be selective about just what to blur. There are many ways we could
go about this, and we’ll look at a method that allows us to explore noise
reduction while maintaining the advantage of layers by continuing work on
the Sample_5.psd file you saved earlier in this chapter after making the initial
cloning/healing corrections. Go ahead and close the Noise Example image
without saving.

Try It Now
1. Create a new layer above the Healing/Clone Stamp layers, call it
Manual Masking, and number it accordingly. This exercise assumes
you have used one layer for healing/cloning, so it will be named 2
Manual Masking. This layer will be the canvas for defining the mask
you will create in the following steps.

96


2. Choose the Brush tool and press D to set the default colors (the
foreground will be black). Be sure the brush you have selected is
round, 100 percent hard, and 100 percent opaque and turn off all
brush dynamics (see Figure 4.8). Try to use a larger brush 20–30 pixels
in diameter. Use either the Brush Preset Picker on the Options bar
when the tool is selected or the Brushes palette (Window Brushes).
This brush will be used to outline the mask you are creating.

FIG 4.8 Uncheck the boxes under Brush Presets to shut off all brush dynamics. Choose a brush that is 100
percent round, set the Diameter to between 20 and 30, Angle to 0, Hardness to 100 percent, and Spacing to 1
percent.

3. Begin applying the brush to the image to outline the petals (see Figure
4.9). You want to get pretty tight to the petals to create a solid outline.
Most of your movement will be freehand, but short line segments
can often be easier to control. To create line segments, hold down the
Shift key and click between points to draw a straight line between
clicks. Complete the outline (see Figure 4.10).

97


FIG 4.9 Use the brush to define the general outline. Come back and fill in with a smaller brush in tighter areas
to complete the outline.

FIG 4.10 Complete the circuit, outlining all the way around the petals.

98


Brush size can be changed with keyboard shortcuts. Increase brush
size with the ] key, and decrease brush size with the [ key.

4. Choose the Magic Wand tool. Set the Tolerance to 10, check the Anti-
alias box, check the Contiguous box, uncheck Sample All Layers, and
be sure the 2 Manual Masking layer is active. With all that done, click
on the flowers. This will select the area inside the black outline you
created.
5. Expand the selection (Select Modify Expand) by half the diameter
of the brush selected for step 2 (e.g., 10 pixels if you used a 20-pixel
brush). This will push the selection out over the outline you created.
6. Invert the selection (Command Shift I/Ctrl Shift I (Mac/PC))
and then Fill with black. This will invert the selection so it is over
everything but the flower petals and will fill the area around
the flowers with black (see Figure 4.11). Deselect by pressing
Command D/Ctrl D.

FIG 4.11 Once filled with black, the
flowers are visibly isolated and we can
use this as a selection and mask for
additional changes.

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Composite Layers
7. Duplicate the 2 Manual Masking layer and rename it. I called it 3
Composite layers are useful Dupe Manual Masking Blurred and Desaturate. You will use this layer
in certain circumstances to make additional refinements to the mask.
to either provide a point
8. Change the mode of the 3 Dupe Manual Masking Blurred and
to freeze your changes as
Desaturate layer to Color and apply a Gaussian Blur to soften the edge
a culmination of previous
layers to continue working (I used 3.5 pixels in the example). The change in the mode will desaturate
from or provide image the area under the mask; blurring will soften the edges and ensure that
information to enable the changes based on this mask will blend in at the edges of the petals.
additional changes. What 9. Shut off the view for the 2 Manual Masking layer, be sure the 3 Dupe
composite layers do is Manual Masking layer is active, and capture a composite by pressing
collect whatever is visible Command Option Shift E/Ctrl Alt Shift E. This will reveal the
in the image into a new content under the 2 Manual Masking layer and then create a new
layer. layer with the current visible saturated and desaturated content
To capture the composite collected. Name the new layer 4 Composite.
layer, make sure the image 10. Hold down the Command/Ctrl key and click on the layer thumbnail
shows exactly what you for the 3 Dupe Manual Masking layer. This will load the solid part of
want to capture in the the layer as a selection.
composite (you may need 11. Activate the 4 Composite layer, and duplicate the selected area to
to toggle layer views), then a new layer: Command J/Ctrl J will do the trick. Name the new
create a new layer and layer 5 Copied Masked Area from Composite. This will isolate just the
press Command
desaturated area of the image into its own layer.
Option Shift E/Ctrl
12. Duplicate the 5 Copied Masked Area layer, and name it 6 Duplicate of
Alt Shift E. Pressing
these keys will stamp the Copied Masked Area.
visible content to the new 13. Group the 6 Duplicate of Copied Masked Area layer with the 5 Copied
layer. Usually you will want Masked Area layer by pressing Command Option G/Ctrl Alt G.
to rename the new layer This makes a Clipping group from the layers. Apply a Gaussian blur
with an appropriate name! of 6 pixels to the 6 Duplicate of Copied Masked Area layer, then
apply Add Noise at 2 percent using Gaussian distribution. Your layers
Sometimes you will
should look like Figure 4.12. The blurring will soften the area around
capture the composite
of the entire image with the flowers, mitigating the noise, and the Add Noise application will
all of the layers on to help rough up the texture of the area again so it is a better fit to the
have a point to move rest of the image.
forward from cleanly after
making a lot of changes.
Other times, such as in
this example, there are Remember this compositing technique as another means of
specific layers to take a organizing content in layers! It is frequently a handy technique.
snapshot of. Because a
mode was applied to the
Dupe Manual Mask layer, it Steps 1 through 6 create the template for the mask you need to isolate the
only appears desaturated area that is changed in the later steps. Making the Clipping group masks
because of the calculation contains the blur to the masking shape, rather than allowing the blurred
the layer performs: there is edges to bleed into the petals. Applying blur softens the noise, and adding
no layer that actually has noise back roughs up the blurred image area so it doesn’t seem unnaturally
the desaturated content. smooth. The result should show a slightly softer peripheral area with greatly
Making a composite reduced noise (see Figure 4.13).

100


allows you to regroup
the image information in
one place and commit
it to tangible pixels.
When you have gathered
image information in a
composite, blurring will
affect the desaturated
masked area directly and
in isolation from the rest of
the image.

FIG 4.12 Some layers (1, 2, 3, and
really the Background as well) are
becoming extraneous to the result
by the end of step 13 because of the
4 Composite layer, but they provide
valuable clues as to how the result was
achieved.

FIG 4.13 Masking and blurring helped
reduce noise without compromising
important detail.

101


The main concept to keep in mind here is that Blur and Noise filters can
work well together in reducing the appearance of noise in your images and
maintaining a realistic appearance. A secondary concept is isolating the image
area(s) that you want to affect. Here we used manual masking techniques,
selection, and Clipping layers to achieve isolated effects.

Again, you will want to retain this image so we can continue making
corrections. Now let’s look at enhancing natural color.

Enhancing Natural Color and Tone
After taking quite a while to examine some options with noise, we’ll step
back to what should be a more familiar area of Levels corrections. You want
to apply a Levels correction as an Adjustment layer masked to the flowers to
make the most of the color and tone as captured and balance the color and
light. As you have already defined the mask, applying it is easy. A second part
to this color enhancement will be using Hue/Saturation to emphasize and
control colors in the image.

Try It Now
1. Command click/Ctrl click the 3 Dupe Manual Masking layer icon to
load the layer as a selection again. Invert the selection. The inverted
selection targets the flower.
2. Choose Layer New Adjustment Layer Levels from the program
menus; when the New Layer dialog appears, name the layer 7 Levels
Correction for Flowers and click OK. The Levels layer will be created
with a mask that targets the flowers using the selection loaded in
step 1. Make your best effort in the Levels correction (consulting the
instructions from the previous chapter if you need to).
3. Choose the Eyedropper tool (press I), and set the Sample Size option on
the Options bar to 5 by 5 Average. The settings for the Eyedropper affect
samples we will be making in later steps on the Hue/Saturation dialog.

Setting the Sample Size for the Eyedropper affects the way sampling
tools behave on other tool dialogs.

4. Command click/Ctrl click the 3 Dupe Manual Masking layer again
to load the layer as a selection. Invert the selection (Select Inverse).
This selects the flowers again.
5. Choose Layer New Adjustment Layer Hue/Saturation. Move the
Saturation slider to 110. This creates a Hue/Saturation Adjustment
layer targeted to the flowers and saturates the colors that already
exist in the flower.

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6. Choose Magenta from the Edit drop-down list on the Hue/Saturation
dialog. We are going to work a little more with the petal color in a
particular color range, and this is the first step in narrowing the range.
7. Click in the image over the pink area of the petals. Then click the Add
to Sample eyedropper on the Hue/Saturation dialog. This tool will
adopt the settings you chose in step 3 and allow you to expand on
the color range selected in step 6. Click and drag the sampler across
one of the flower petals (see Figure 4.14). This will select the color range
for the petals.
8. Drag the Saturation slider to the right until the pink area of the image
is just about to burst with color. I chose 120 for Saturation and 13 for
Hue. We will be softening the look a bit, so making the color strong is
OK as it will be moderated.

FIG 4.14 The initial click sets the
standard range, while the click-and-
drag samples a range of color to add to
the initial sample.

The Hue setting of 13 was merely a preference, but checking a range
of hues by moving the Hue slider should tell you how successful your
range selection was for the petal color.

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This Hue/Saturation technique can be used in combination with masking and
color range selections, making it a very versatile tool. You might, for example,
consider making a change to the center of the flower by choosing another
color to edit on the Hue/Saturation screen, creating another range using
the sampling tools, and making an adjustment. You may need to combine
this with additional masking to achieve the result you are looking for (Figure
4.15). For example, if you set the color range and make a hue adjustment,
and it changes other parts that you don’t want it to, you can easily block the
changes by adjusting the mask.

(a) (b)

FIG 4.15 Because there is a lot of
yellow in the eye of the flower, it is
virtually impossible to isolate the
change by a color range selection
alone. Here the color change is made
to the whole range and then a mask is
added on the Hue/Saturation layer to
reveal the change only over the center
of the flower. (a) All yellows adjusted.
(b) The mask added to Hue/Saturation.
(c) The masked result. (c)

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Masking in this case allows you to make a change and then localize
the change to the area you want to correct. This is just a small hint as to
the enormous power of masking. Hold on to that image, there is more to
come as we work on soft-focus effects.

Add Soft Focus
Whereas there are certainly parts of this image that are in focus, the very
shallow depth of field and lighting make the nature of this image a little soft.
I find it is usually better to go with the flow and not try to force a softer image
to pretend to be tack sharp. There are ways to make this image look sharper,
and we’ll look at that a bit later. Enhancing the soft focus may be more natural
and helpful in making this particular image look its best.

Soft-focus effects are achieved photographically by scattering light. Soft-focus
filters and soft-focus lenses help achieve the effect, and similar effects can be
had by using a UV filter and smearing the outer edge with Vaseline (leaving
the center of the lens clear). The latter may seem like quite a sloppy solution,
but the reasoning is all the same: disburse some of the light passing into the
lens and diffuse it.

To have light you have to have brightness. That is, darker parts of your image
will tend to have less light to disburse, and lighter parts will have more. The
logical solution for creating soft-focus effects would be to make a selection of
image content based on brightness and then copy that to its own layer and
blur. After applying the effect, use layer opacity to control the intensity and
layer modes to refine the effect you want.

Following this logic, we can look at a slightly more advanced and satisfying
result for this image. Remember that we have already blurred the background,
and maybe we want to contain further blurring and effects. We can do that by
compounding masks, as we’ll do in the following exercise.

Try It Now
1. Create a Composite layer at the top of the layer stack and name it 10
Composite Color Enhancements (see Figure 4.16).
2. Once again, load the mask we made for the flowers as a selection.
You can do this in a variety of ways, but—as we haven’t done it
quite this way—hold down the Command/Ctrl key and click on the
mask for the Levels or Hue/Saturation layers created in the previous
section.
3. Copy the content of the 10 Composite layer to a new layer using
the selection you just loaded. Copy and Paste will work, as will

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FIG 4.16 Using one layer for the spot
corrections early on and adding the
color change for the eye of the flower,
there are currently 10 layers in this
image, including the new composite.
You may have fewer or more layers
depending on the choices you made in
processing.

Command J/Ctrl J. Name the new layer 11 Copied Composite
Using Blurred Manual Mask, or a similar name.
4. Blur the content of the 11 Copied Composite layer using Gaussian
Blur and a radius of 30 pixels. This will turn the image to a horrible
blurry mess—however, this is not the immediate goal.
5. Open the Channels palette (Window Channels). This shows a display
of the RGB information for the image at a glance (see Figure 4.17).
6. Hold down the Command/Ctrl key and click the thumbnail for the
Green channel in the Channels palette to load it as a selection.

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FIG 4.17 The palette controls and options for the Channels palette are very similar to those of the Layers
palette, but Channels are quite a different animal, representing the RGB light components of the current image
composite.

Green is at the center of the visible spectrum and as such shares
similarities to what we might expect to see as a luminous conversion to
black and white, so that is why it is being used. Other channels could be
an option, as could Luminosity, which is a component of LAB mode. We’ll
look at Luminosity advantages later in this book.

7. On the Layers palette (you can close the Channels palette if you
want), be sure the 11 Copied Composite layer is active, and then click
the Add Layer Mask button at the bottom of the Layers palette. This
will create a mask for the layer using the Green component. This will
block the soft-focus effect in darker portions of the image.
8. Lower the opacity of the 11 Copied Composite layer to 50 percent.
This will allow you to see through the blurring even more.
9. Duplicate the 11 Copied Composite layer and change the mode to
Softlight, then name the layer 12 Duplicated Copied Composite. This
added layer will enhance the soft-focus effect. Your layers should look
like Figure 4.18.

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FIG 4.18 Check your layers after step 9
against these. You should have them in
the same order with the same names.

The last few steps in the procedure here lower the effect of the blur by
masking and use of opacity and then increase the contrast to compensate for
some of the dynamics lost in the blur (Softlight mode). You can control this
effect further by making adjustments to the layers you added using Opacity
or Modes, increasing/decreasing the amount of blur, or changing the masking
(e.g., for variations you could use the Red channel for the mask instead of the
Green or load the mask before making the blur).

This image has come quite a way already, but there is still a ways to go. Be sure
to save it off at this point so you can continue with the corrections in the next
section. Try toggling the views on and off for the 11 Copied Composite and 12
Duplicate Copied Composite layers just to see the difference before and after
the soft-focus addition. You can also compare before and after for the whole
process (see the Before and After sidebar).

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Before and After
There are several different ways to compare before and after. Here are three:

1. Toggle off the views for all layers other than the Background layer. To do this, you can click and drag the
cursor over the Layer Visibility Indicators in the Layers palette.
2. Use the History palette to toggle between the original and the current state of the image by clicking the
appropriate states in the History to undo/redo changes. Click the default Snapshot at the top of the palette
to return to the original state and the last item in the History to return to the current state (see Figure 4.19).

FIG 4.19 The History palette retains only as many states as you have entered in the preferences, but it does maintain the initial state of the image as
well. Toggle between the initial state and the last one on the list to see before and after by clicking the Snapshot and the last step in the history.

3. Duplicate the Background layer and drag the duplicate to the top of the layer stack. Name it Before, and
toggle the view as needed.
Any of these methods will work, depending on how you like to work and how you use layers; some methods
may prove convenient at different times.

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Color Enhancements
Color enhancements for this example image come in two types: enhancement
of natural color, as we looked at earlier in this chapter, and enhancement
by addition, which we’ll look at here. In this image, adding some muted
color to the additional objects in the scene, like the stems and buds in the
background, will make them seem less distant, and more a part of the image,
while giving the image a little more dynamic overall look. We’ll take a look
at this color adjustment and how to do it with layers by painting in color
enhancements.

Try It Now
1. Create a new layer at the top of the layer stack and call it 13 Green.
2. Choose the Paintbrush tool and a small soft brush, then double-click
the foreground color swatch on the toolbar and choose a green
(I chose RGB: 15, 120, 20). Lower the Opacity of the brush to 50
percent. A 50 percent brush opacity will be only partially opaque and
will layer color as you apply it. Applying over the same area more
than once darkens the color and yields density changes that may
prove pleasing in the final result.
3. Paint on the 13 Green layer over the areas of the image that should
be green. I painted over the buds and stems to the left. Don’t worry
about the coverage being 100 percent or whether it is completely
even—in fact you may not want it to be (see the comments after the
exercise).
4. Apply a Gaussian Blur to the layer, just a few pixels (five or so). This
will smooth out and blend in the color.
5. Set the layer to Color mode and adjust the Opacity until it seems
pleasing.
6. Add a Hue/Saturation layer as a Clipping layer grouped with the 13
Green layer. By moving the Hue slider you can try variations on the
color to see if there is a shade you like better. Your layers should look
like Figure 4.20.

By repeating these steps with other colors, you can add color to other areas
of the image, such as the petals. Consider opportunities for layering color. For
example, in this image I used yellow to create some highlights on the buds;
blue complements may have worked as well. Add a new layer for each of
these colors so you can control Opacity and Blur separately for each color.

Experiment with adding color on multiple layers, using different layer modes
and brushes. For example, I often use the Fade control and other brush
dynamics for size to taper brush strokes and apply other randomizing brush
effects. Whereas the layers themselves are acting as masks by locating color

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FIG 4.20 You added two layers, each
with a layer mask, during this set of
steps. Only the mask on the 13 Green
layer is affecting the visible content of
the image.

where the brushes are applied, layer masks can confine changes after the fact.
There is a lot of room for creative application of color and we can’t possibly
cover it all, so experimenting is key to seeing what you can accomplish.

Sharpen and Enhance Contrast
Sharpening an image is sometimes understood as an action or application
of filters done to make an image magically appear to be more in focus. That

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is not really what sharpening does. Sharpening is meant to enhance edge
contrast and detail that already exist in an image. If an image is utterly out
of focus, soft and blurry, then there are no strong edges, nothing to sharpen,
and applying some means of sharpening may actually end up making the
image look worse—depending on how the sharpening is applied and at what
strength. The goal of sharpening is never to snap an out-of-focus image into
sharpness.

Sharpening will do several things very well. It will:
●
enhance the appearance of sharpness already in an image, to make it
appear even sharper;
●
enhance edges in images that are going to print to help counteract dot
gain (by which ink bleeds into the paper and softens images);
●
enhance existing contrast.

On the negative side, sharpening can also:
●
cause edges to exhibit haloing, in which edge contrast is enhanced too
much and appears to create a glow around the edges (see Figure 4.21);
●
cause image damage by blowing out highlight detail (making color run
to absolute white) or blocking up shadow detail (making color run to
absolute black) while it increases and enhances contrast.

FIG 4.21 This exaggerated sharpening
displays a dark halo around the flower
petals; the edges of the petals blow
out, noise is enhanced, and detail is
lost. Be careful with sharpening or your
images can sustain similar damage.

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The upshot is that sharpening can do just as much harm as good if you use it Unsharp Mask
incorrectly. We’ll look at best practices for using the Unsharp Mask and how
The Unsharp Mask filter
to use it for both enhancing sharpness and enhancing image contrast. Later
causes a lot of confusion
we’ll look at a much different means of sharpening by combining several because of its name. It
techniques that we have already looked at. seems incongruous that
Unsharp Mask can work wonders in some images that are already reasonably a filter called “unsharp” is
sharp and can work well with fine detail like fur. For the following exercise, used for sharpening an
image.
continue working with the image we’ve been using throughout this chapter.
The word unsharp comes
from darkroom practice.
Try It Now A blurred, inverted
1. Create a new layer at the top of the layer stack, call it 14 Unsharp copy of a negative was
Mask. sandwiched with the
2. Copy the visible content to the layer by pressing Command Option original to create an edge
mask. During exposure
Shift E/Ctrl Alt Shift E. This puts the visible content of the image
in the darkroom, that
on one layer so the filter can be applied.
unsharp mask was
3. Open the Unsharp Mask filter (Filter Sharpen Unsharp Mask). used to enhance edge
4. In the dialog, set the Amount to between 50 and 100 percent, the separation, increasing the
Radius to between 1 and 3 pixels, and the Threshold to 0. apparent sharpness of the
results. The Unsharp Mask
filter attempts to mimic
the results of this type of
Higher Amount and higher Radius will affect more pixels more
masking using a digital
intensely. The settings noted here work with most images (4–8 calculation.
megapixels). Use higher Radius and Amount settings for larger images;
use lower settings for smaller images.

5. Click OK.

Depending on your settings and how you have handled the image thus
far, sharpening may have given you pleasing, somewhat pleasing, or sorta
ornery results. The fact is that very little of this image will need sharpening,
and because of the nature of the image and added noise, you may actually
experience unpleasant enhancement of noise. Sharpening does not play
favorites, it enhances everything in the image.

Your choices are to use the same measures we’ve been looking at throughout this
chapter to control the result: masking or opacity. Here it may be best to mask the
change to the part of the image that benefits most: the eye of the flower.

Try It Now
1. Be sure the 14 Unsharp Mask layer is active, and click the Add Layer
Mask button at the bottom of the Layers palette. This will add a mask
to the layer.

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2. Fill the mask with black. You can do this by using the Paint Bucket
tool with black as the foreground color, or choose Fill from the Edit
menu and use Black as the Content.
3. Choose the Brush tool and a medium-soft brush, change the
foreground to white (press D with the mask thumbnail active), and
paint over areas you would like to sharpen selectively (following the
exercise, that would be over the eye of the flower). Painting white into
the mask reveals those areas (check Figure 4.22 after the next segment
of the exercise for a thumbnail of what the mask should look like).

Another means of applying Unsharp Mask is using a smaller Amount (10–30
percent) and broader Radius (50–100 pixels). This will enhance the local
contrast in your image. This can often work well with images that seem a
little flat, but can still be abused and may lead to trouble. There are other
techniques that we will look at in later chapters using layer modes that will
also enhance local contrast.

Local contrast is part of how objects and colors play against one
another. Enhancing local contrast is not as radical as flatly enhancing
contrast in an image, as it depends on object and color proximity.

There is an alternative to applying a layer mask that yields identical results, but
can sometimes come in handy: using a Clipping layer instead of a mask. Try
using Clipping groups instead of standard layer masks.

Try It Now
1. Duplicate the 14 Unsharp Mask layer by clicking on it in the Layers
palette and toggling the view for the original layer 14 to off, and
change the name of the new version to 14 Unsharp Mask II.
2. Toss out the mask on the new version of the layer. To do this, click
on the thumbnail for the mask and drag it to the Trash on the Layers
palette. A dialog will appear asking what you want to do with the
mask (see Figure 4.22). Click Delete.

FIG 4.22 Click Delete to remove the layer mask without changing the content of the layer.

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3. Create a new layer by clicking the Create New Layer button on the
Layers palette. Call it 15 Unsharp Mask Masking.
4. Press Command [/Ctrl [ to move the new layer below the 14
Unsharp Mask II layer.
5. Activate the 14 Unsharp Mask II layer again by clicking it in the Layers
palette and press Command Shift G/Ctrl Shift G (this was
Command G/Ctrl G for Photoshop CS or earlier, or for Elements
users). This creates a Clipping group from the 14 Unsharp Mask II and
15 Unsharp Mask Masking layer.
6. Choose the Paintbrush tool, pick a brush, activate the 15 Unsharp
Mask Masking layer, and paint on it to reveal the sharpened contents
of the 14 Unsharp Mask II layer. Your layers should look like Figure 4.23.

With this type of masking it is the solidity of the lower layer (rather than the
tone of the mask) that controls what can be seen. You can set up Snapshots in
the History palette to compare the two methods of sharpening, as we did in
the Applying Levels for Color Correction section of Chapter 3.

Additional Manual Sharpening
One thing you will be able to do here (for practice, fun, learning and if you
have the time) is to try to sharpen up the edges of some of the petals that
seem soft. Much of this is an artistic decision, but one that relies on a simple
idea: lack of sharpness is apparent where edges are blurry. Fix the edges and
you improve the sharpness of the image.

A manual way to enhance edges and create sharpness where it seems to be
lacking is to paint in new edges using our Clone Stamp and Healing layers.
This is not something you will do often, but it can work in this image, and
several of the petal tips could do with some sharpening!

Try It Now
1. Create a new layer at the top of the layer stack and call it 16 New
Edges. This will be used to hold your new adjustments.
2. Choose the Clone Stamp and a brush that is relatively hard—relative
to the image. For this image I set the brush hardness to 80 percent
and chose a brush of 45 pixels without brush dynamics (uncheck
other Dynamics options in the Brushes palette).

An absolutely hard brush will make an absolutely hard new edge, a
softer brush will make a softer edge; 80 percent seems to work well with
this image because it enhances the look of the edge without seeming
impossibly sharp in comparison.

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FIG 4.23 You’ve added three more
layers by exploring sharpening. Either
of the #14 layers should be visible via
the Visibility toggles. Leaving both on
will produce different results based
on the differences in the respective
masks. Shutting both off will remove
the sharpening.

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3. Sample from another portion of the petal, and then use that sample
to stamp a new edge in the areas where you want the petal to be
sharper (see Figure 4.24).
4. Create a new layer for the Healing tool and blend in the new edge by
applying Healing to the area between the new edge and the petal.
This brush can be about the same as the one chosen for the Clone
Stamp, but should be 100 percent hard.

(a) (b)

FIG 4.24 Applying the Clone Stamp allows you to
make a new harder edge that seems to have more
focus, and applying Healing next to that allows
you to blend in the new edge seamlessly. (a) Clone
Stamp to build the edge. (b) Heal along the seam
(c) created by cloning. (c) The result.

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(a) (b)

FIG 4.25 Applying the Clone Stamp allows you to make a new harder edge that seems to have more focus, and applying Healing next to that allows you to
blend in the new edge seamlessly with the rest of the petal. (a) Before. (b) After.

Figure 4.24 shows the technique described in steps 3 and 4 and the immediate
result of the edge creation. Continue to build and blend. You can do this right on
the same Clone Stamp and Healing layers. See the before and after in Figure 4.25.

Summary
Throughout this rather rambling exercise you have looked at many
implementations of layers and masking and the type of separation and
application advantages they provide in a real-world situation. Six desired
adjustments have led to a plethora of changes and the creation of many layers
in my sample image (see Figure 4.26). The resulting layers along with a few
additional adjustments that were discussed can be perused if you open the
Sample_5_complete.psd image on the CD.
Throughout this chapter, we have looked in some depth at a variety of ways
masking is applied in images. The basic concept is, indeed, “masking hides,”
but it can hide and reveal and becomes a particularly powerful tool when
used in combination with layers for the purpose of corrections.
What can be a mask?
●
Layer content: Content in a layer above in the layer stack masks what is below.
●
A Clipping group: Clipping groups mask what is grouped above based on
the content of the bottom layer in the group.

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FIG 4.26 Your layer stack may differ from the one shown here depending on the steps you have chosen to
include throughout this chapter and how you chose to handle them, but the results should be similar.

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●
Layer opacity: The opacity of layers lets you adjust the intensity of how
masked layers affect an image.
●
Layer mode: This will allow you to vary the means by which an upper
layer combines with layers below (we’ll look at this in more depth later),
effectively masking how layer changes are applied.
●
Selection: Selection masks changes so that the selection defines the active
area of active layers. Changes can be applied only within the selection.
●
Layer masks: Layer masks hide and reveal portions of the layer they are
associated with. Black hides, white reveals, and gray hides as a percentage
gray or as a semitransparent mask.
●
Adjustment layer settings: Settings on the Adjustments palette for various
types of Adjustment layers allow users to mask based on a color or tonal
range.
●
Channels: Channels store layer masks and selections, but can also become
masks themselves.

In addition to this list, there are more advanced masking options left to dig
into, like Blend If. The real challenge is to take some of what you have learned
about masking in layers in this chapter and apply it to your own images.

It isn’t so important to remember the various means of masking or even the
terms. What is important is that masking is a layer property and that you know
you can use it instead of erasing image details or instead of applying changes
directly. Either erasing or applying directly ends up permanently changing
details, which is directly opposed to the advantages of nondestructive editing
as we intend to explore it in this book. In short, use masks instead of the
eraser.

Keep in mind that the correction list you develop for each photo drives your
layer creation and the steps you take in making adjustments to your images.
Creating the list of what to correct takes a disciplined eye. Some image needs
will be obvious, and others may be found as you work through corrections.
For now, if you start making those lists in your mind and on paper every time
you look at an image, you will begin to see your work flow layout before you
like a map. It is hoped that, with Layers, you can make all the topographical
lines fit together without much trouble. Think about what you are doing with
each step, and help yourself with later adjustments by letting layers define the
order of changes in the image.

If you get stuck at any time and have questions, visit the forums at http://
www.photoshopcs.com!

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CHAPTER 5

Applying Layer Effects

S omewhere just beyond isolating objects into their own layers and
more advanced blending lies the genus of layer-based effects. Effects
encompass a broad range of enhancements and adjustments from solid
color fills and stroked outlines, to drop shadows and bevels, to combinations
of these that create more complex layer styles. Application can be wild
effects (often used with type, see Figure 5.1) to more moderate doses of
change that add separation between image objects and subtle image
enhancement.

FIG 5.1 A fairly simple application of
standard styles can radically change
the appearance of type.

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It is useful to know what Styles and Effects are, where to find them, how to
apply them, and how they act. Further utility comes from methods for using
and controlling these effects using multiple layers, Fill and Opacity controls,
and Global Settings and considering application of manual effects—which
leads nicely into other topics of correction.
Styles are akin to filters in that you can waste hours and hours applying and
adjusting them, and then undoing and applying again. They can become
addictive when doing creative projects. However, there is a practical side
to Styles, and we’ll look at an overview of effects in this chapter from the
standpoint of practical application in image enhancement and touch on the
implication for broader creative effects.

The Basics of Effects and Styles
The difference between Styles and Effects is that Effects are the separate functions
that can be applied to a layer, and a Style is a preset for any effect or combination
of effects. Photoshop has 10 total effects (Table 5.1) and comes with a few canned/
prefabricated styles that you can apply just by choosing an effect from a menu.

TABLE 5.1 The basics of Effects and Styles.

Drop Shadow Adds a shadow on the outer perimeter of the layer
content. Affects the appearance of content only in
layers below the layer on which it is applied.

Inner Shadow Adds a shadow inside the perimeter of the layer
content. Affects the appearance of content only in the
layer on which it is applied.

Outer Glow Adds a glow around the content of the layer on which
it is applied. Affects the appearance of the content
only below the layer on which it is applied.

Inner Glow Adds a glow inside the content of the layer on which it
is applied. Affects the appearance of the content only
in the layer on which it is applied.

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Bevel and Emboss Adds highlights and shadows to a layer to affect a
raised (Up) or lowered (Down) appearance. Can be
used in several modes, including Outer Bevel (applied
to the outer perimeter affecting only layers below),
Inner Bevel (applied to the inner perimeter affecting
only the current layer), Emboss (applied as both Inner
and Outer Bevels), Pillow Emboss (applied as Inner
Bevel Up and Outer Bevel Down), or Stroke Emboss
(applied to Stroke effects only). May affect the layer on
which it is applied as well as layers below depending
on the settings you choose.

Satin Applies shading to the inner perimeter of the layer.
Supposed to give a satin look. Affects the appearance
of content in the layer on which it is applied.

Color Fills the layer content with a color. Affects the
appearance of only the layer on which it is applied.

Gradient Fills the layer content with a gradient. Affects only the

Pattern Overlay Fills the layer content with a pattern. Affects only the

Stroke Strokes the outline of the current layer content using
color, a gradient, or a pattern. Strokes can be Outside,
Inside, or on Center. Affects the layer on which it
is applied, layers below, or both depending on the
settings.

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Styles can be created and saved, or you can download them from the Internet
or buy collections and load them to apply at will (from such sites as actionfx
.com). These canned styles work well usually for more creative applications
and far less frequently for photo enhancements. The list of styles loaded can
be found in the program on the Styles palette.

Let’s try applying a style.

Try It Now
1. Open the Sample_6.psd image on the CD.
2. Click on the Wild Type Effectz layer in the Layers palette if it is not
already active.
3. Choose Styles from the Windows menu to open the Styles palette
(see Figure 5.2).
4. Locate the style named Chrome Satin in the Styles palette, and apply
it by clicking the thumbnail.

FIG 5.2 The Styles palette by default
shows a thumbnail view of the default
styles as shown here. To return to the
defaults, choose Reset Styles from the
Styles palette menu.

To find style names, roll your cursor over the styles one at a time.
You can also view the names of the styles in the palette by choosing
Text, Small List, or Large List from the Styles palette menu. Text lists the
styles by name only; Small List and Large List list styles by thumbnail
and name.

That is all there really is to applying a style: locate and click. However, there is a
little more to working with styles, as we’ll see. In the following steps we’ll add
another effect to the existing style.

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5. Choose Inner Glow from the Add a Layer Style menu located at the
bottom of the Layers palette or off the Layer menu (Layer Layer
Styles Inner Glow). This will open the Layer Style dialog (see
Figure 5.3).
6. Change the Blend Mode for the Inner Glow to Color Burn, change
the color to Red (RGB: 255, 0, 0), and change the Size to 20 pixels. This
will intensify and burn in the red at the edge of the letters. To change
the color to Red, click the Set Color of Glow swatch in the Structure
panel and choose the color in the Color Picker that appears.

FIG 5.3 The Inner Glow style to the
left of the Layer Style dialog will be
checked and highlighted. The Inner
Glow options will be displayed at the
center of the screen.

To check your results, see Sample_6_Corrected.psd on the CD. You can
experiment with other settings, but at this point you have replicated the
results from Figure 5.1. To see how each of the effects contributes to the result
of the style you have applied, uncheck the box next to the effect at left to
toggle the view for individual effects in the style. To adjust the settings for
any of the effects, just click the name of the effect to reveal the options, and
change them as desired in the dialog by adjusting any of the settings. For
example, if you change the Gradient Overlay from 90 to 180°, you will get a
much different effect (see Figure 5.4).

You can manage separate effects in the style by toggling the view for the
effects in the Layers palette (see Figure 5.5). You can shut off the view for
individual effects or for the whole grouping of effects with the Visibility
toggles. In the example, shut off the Bevel and note the difference in the
effect on the image. You can toggle the effect to compare, but leave the
visibility for that particular effect off before continuing on.

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FIG 5.4 Changing the options for any
of the Effects will change the result for
the Style accordingly.

FIG 5.5 Click on the Visibility toggle (looks like an eye) to the left of the Effect you want to hide/show in the Style to manage the views in the Layers
palette without opening the Layer Style dialog.

This only scratches the surface of what Styles can do. The small change you made
by shutting off the view for just one of the effects suggests the potential for
variety. Be careful with the amount of time you devote to playing around with
styles and effects and set a limit beforehand for your experimentation, or you can
lose hours of what would otherwise be productive work time correcting images.

Don’t close this file; you’ll need it in a moment.

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I personally find styles most useful for storing favored settings. For
example, I occasionally use a Bevel effect that sets both the Highlight and
the Shadow to black and multiply in combination with the Inner Shadow
effect. I like the opportunity the combination gives me to tune the
beveling effect. Storing that as a style allows me to apply it with a click.
Likewise, you may find half a dozen or so practical settings for reuse, but
Styles are more often a creative tool than a correction tool.

Vector Masks
Vector masks are similar to Layer masks but are controlled with vector
content. Vectors are used in the Sample images in this chapter to define
the content of the Type layers. This is done for several reasons, the most
prominent of which is that not everyone will have the type face that I used
(Plug-NickelBlack). If you didn’t have the type face and I left the Type layer
as it was, Photoshop would choose a substitute. I converted the type to
vectors using Convert to Shape (Layer Type Convert to Shape). This
command will make perfectly defined type shapes. Though the result
can no longer be edited as type, it does have the advantage that it can be
infinitely scaled.

Part of what makes vector components in your images distinct is that
vectors are not resolution dependent. Vectors act more to corral pixels than
to define them absolutely. You will find that vectors are used more often for
logos and illustration than for image correction (though some like to use the
Pen tool to help define selections). The advantage to defining illustration
elements as vectors lies in the ability to scale them infinitely: if you design a
vector logo, it will look its best on a business card or billboard, and it won’t
develop the fuzzy edges you would get with pixel-based design.

Saving Styles
If you hit on a style that you want to save and perhaps use in the future, you
can save the style. Not only that, you can save style libraries that you create
for specific purposes or to help you manage styles that you find handy. Say,
for example, that you like the effect created for the type in Figure 5.4 in the
previous section. You can save the effects as a style and store it for future use.

Try It Now
1. Double-click the Effects item in the Layers palette under the layer for
the image you were just working on (see Figure 5.6). This will open the
Layer Style dialog.
2. Click the New Style button at the right of the Layer Style dialog. This
will open the New Style dialog.

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FIG 5.6 Double-click right on the item
named Effects in the Layers palette just
below the Wild Type Effectz layer.

3. Name the new style something that you will recognize, and click OK
(see Figure 5.7). Options at the bottom of the New Style dialog allow
you to save Blending options (Opacity, Blend If, Channel targeting) as
well as the effects. We’ll look more at Blending options in Chapter 7.

FIG 5.7 Naming the Style may be the most difficult part of this segment of the exercise. Try to make names for
your styles that clarify what they achieve, and maybe include the separate Effects or settings in the name.

Now that you have stored the style, you can access it from the Styles menu
any time you need to.

Try It Now
1. With the previous image still open, click and drag the Effects item
to the Trash at the bottom of the Layers palette. This will remove the
effects from the image.
2. Open the Styles palette and click on the style you saved in the last
segment of the exercise (you should be able to locate it by name).
This click will apply the style to your image.

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Take a look at the Layers palette. You will notice that, if you completed the
preceding exercise, the view for the Bevel is included in the saved style, but
that its visibility is off. In other words, the style is stored exactly as it was when
you saved it and even if an effect within the style is off it is not removed when
it is stored.

Managing Styles
You can download styles from the Internet and load them into Photoshop
to have ready-made styles at your disposal. It is easy to build a library of
thousands of freebees by downloading them from the Internet and loading
them into Photoshop. But keep in mind that all styles are not created equal.
Some designers with experience really know what they are doing and how
to have a style render with quality and do very useful things. Don’t just
download everything in sight, or you will have a huge library that you can’t
filter through for practical application.

I’ve included a styles set on the CD put together by my good friend and
Photoshop Styles/Effects master, Al Ward (actionfx.com). You can use this set
to practice loading styles and to see the kinds of effects that good styles can
produce.

Try It Now
1. Open Photoshop and insert the CD from The Adobe Photoshop CS4
Layers Book into your CD-ROM.
2. Open the Preset Manager for Styles. You can do this by choosing
Preset Manager from the Edit menu and choosing Styles from the
Preset Type list or by choosing Preset Manager on the Styles palette
menu. If you use the Styles palette menu, the Styles will be
preselected.
3. Click the Load button on the Preset Manager screen. This will open a
Load dialog (much like a standard Open dialog).
4. Locate the CD in the Load dialog, click the ActionFx-CS4_Set_01.asl
file in the Styles folder, and then click the Load button on the Load
dialog. The styles will populate in the Preset Manager screen.
5. Close the Preset Manager by clicking Done. The styles will be loaded
on the Styles palette. You can use them with a click. Test some out!

In addition to the Load option described, you also have the option to
load by replacing the current styles, which will remove the current styles
before loading the library that you pick. To return to the default library of
preset styles, choose Reset Styles.

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Periodically you may want to save your styles set as a library so you can use it
with some flexibility. Depending on how you like to work, you may save several
libraries to group your styles, or a single library with your most used effects.
Saving will allow you to return to a set should you inadvertently delete it or
replace the styles in your palette. To save a Style library, just choose Save Styles
from the Styles palette menu. When the Save dialog appears (see Figure 5.8), name
the file (leave the .asl extension on the filename), and you can save it anywhere
you’d like.

FIG 5.8 It may be best to save to a
folder that gets backed up periodically,
or to the Photoshop Styles folder inside
the Presets folder in the program
directory/folder. Click the down arrow
to the right of the Save As field to view
more options.

Manual Effects
Although layer styles are handy for quick application of effects, there are
built-in limitations to them. You are not limited to creating effects by using
layer styles. You can create effects manually so long as you understand how
to create them. In fact, making your effects manually can offer a measure of
flexibility that you simply can’t get from applying the canned effects, with
more potential for variations.

Try It Now
1. Open the Sample_6.psd file again from the CD. We’ll want to start
from scratch here with the original image.
2. Click on the Background layer to activate it in the Layers palette if it
isn’t active already.
3. Create a new layer and name it Drop Shadow.
4. Hold down the Command/Ctrl key and click on the vector mask
thumbnail for the Wild Type Effectz layer. This will load the vector
mask as a selection (see Figure 5.9).

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FIG 5.9 Holding down the Command/
Ctrl key and clicking the vector mask
will load the mask as a selection.

5. Fill the selection with Red (RGB: 255, 0, 0). You can do this by setting
the foreground color and then using the Paint Bucket tool or with
the Fill function (Edit Fill) with the color set to Foreground. The
selection will fill in the active Drop Shadow layer.
6. Deselect (press Command D/Ctrl D). If you don’t deselect, the
selection will contain the action in the steps that follow.
7. Apply a Gaussian Blur of 5 pixels. This will soften the edge of the color
added in step 5.
8. Change the Opacity of the Drop Shadow layer to 75 percent. This will
lighten the drop shadow.
9. Offset the content of the Drop Shadow layer down and to the
right. To do this choose the Move tool (press V), hold down the
Shift key, and press the down arrow on the keyboard and then the
right arrow. You can use the Offset function instead if you want
(Filter Other Offset). The result should look something like
Figure 5.10. This offset will simulate the angle between the object (in
this case, type) and the light source.

FIG 5.10 The reddish drop shadow is one of the simplest effects to create manually.

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Holding the Shift key when using the arrows on your keyboard
will move the content on the active layer 10 pixels at a time rather than
one.

All other effects can be created manually using layers, sometimes with steps
very similar to those we used in this example. For example, you can make
inner shadows and glows by clicking the Wild Type Effectz layer in step 2,
making a Clipping group with the new layer created in step 3, and inverting
the selection in step 4.

The real advantage to making effects manually is that the effects are actual
pixels rather than virtual ones so you can treat the effects more like an
editable part of the image. If you want you can apply layer styles to the layers
on which you have created the effects. You also have freedom of movement
and adjustment without having to visit the Layer Styles dialog.

You can see from the nine steps above used to create a drop shadow that it
probably is not worth the trouble if you can get a similar effect with a one-
click layer style. However, there are ways to simplify creating manual effects,
and we’ll look at those next.

Automated Manual Effects Tools
On the CD you will find a file named Layer Actions.atn, which is a set of
actions that will create several layer-based effects with a click. The actions
are time-savers because they will run through a series of steps that have
been prerecorded. For example, the steps above for creating the drop
shadow have been recorded for the Drop Shadow/Glow action, and you can
replay it with a single click and some minimal user input. First you’ll need to
load the actions.

Try It Now
1. Start with Sample_6.psd. Either open it fresh from the CD or revert
the file to the original image state by clicking the thumbnail in the
image history.
2. Load the Layer_Effects.atn action into the Photoshop Actions palette.
You will have to load the actions only once. To load the actions
you can drag the file from the file system to the Actions palette in
Photoshop, or open the Actions palette (Window Actions or press
Option F9/Alt F9), and choose Load Actions from the Actions
palette menu, then locate the actions file on the CD. Choose Layer_
Effects.atn and then click the Load button. The actions will populate
in the Actions palette. The actions should appear like Figure 5.11.

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FIG 5.11 You may have other actions in your Actions palette, but Layer Effects will load as an action set,
containing Drop Shadow/Glow, Inner Shadow/Glow, Inner Bevel, Outer Bevel, and Change Effect Color.

We load actions several times throughout the book to simplify
lengthy procedures and provide tools for completing repetitive tasks, like
making manual drop shadows. Come back to these steps if you need a
refresher on loading actions later.

3. Set the foreground color to Red (RGB: 255, 0, 0). This color will be
used by the action to define the color of the effect.
4. Activate the Wild Type Effectz layer by clicking it in the Layers palette.
5. Run the Drop Shadow/Glow action. To do this, click the Drop Shadow/
Glow action in the Layer Effects set on the Actions palette, then click
the Play button at the bottom of the Actions palette (see Figure 5.12).
6. Follow the instructions as they appear on screen. Use the default
Offset (110, 110) and change the Gaussian Blur radius to 5 pixels to
match the results of the previous exercise. This will create a drop
shadow that falls to the lower right.

FIG 5.12 Click the Play button at the bottom of the Actions palette to play the active selection.

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Now that the actions are loaded, the process is several steps easier. In the
case of applying a bevel, it is many steps easier. But the true glory of knowing
how to apply layer effects manually is not just in being able to apply a simple
drop shadow or bevel to some isolated type. Benefits come in as flexibility in
placement and control as well as options you gain for applying layer styles in
combination with manual effects, or even applying the styles to the effects
themselves. Part of what distinguishes manual effects from layer styles is that
you will have a difficult time applying compound effects if you use only layer
styles. We’ll look at a more complicated example in the next section, which
combines layer styles, manual effects, and masking.

Close this image without saving before proceeding.

Combining Manual Effects and Styles
In keeping with the layer mentality, it is sometimes best to apply effects
to separate layers rather than all at once as a single style on a single layer.
However, there are times when layer styles do everything you need them
to and times when you will want to use both manual and canned effects to
orchestrate your results.

Say, for example, you want to create an effect on your type so that it looks
like the type is transparent. That is, the effects that appear in the background
will be seen through the type. You could try reducing the opacity of the
layer, but what you’ll find is that it reduces the opacity of the effect as well.
Combining style and effect application in various ways will help get the
desired results.

In this example we will build an effect that looks like translucent type using a
combination of layer styles and draw on everything we have touched on so
far in this chapter.

Try It Now
1. Open the Sample_6.psd image again from the CD.
2. Click the Wild Type Effectz layer in the Layers palette to activate it.
3. Apply the Type effect saved earlier in this chapter by clicking it in the
Styles palette. The text shows it saved as Wild Type Effect in Figure
5.7, but you may have used another name. The result for the image
and Layers palette should look like Figure 5.13.
4. Drag Bevel and Emboss, Gradient Overlay, and Drop Shadow to the
Trash on the Layers palette. This should leave you with only Inner
Glow and Satin effects, as in Figure 5.14. This removes those effects
from the style as it is applied in the image.
5. Choose Color Overlay from the Add a Layer Style menu at the bottom
of the Layers palette. This will open the Layer Style dialog with Color
Overlay selected.

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FIG 5.13 After applying the saved style, the image should display the properties inherited from the stored style.

FIG 5.14 After removing the effects,
the image will visibly revert to what it
looked like when it was opened, but
two effects are still being applied—
you just can’t see them because of the
black color of the layer.

6. Double-click the Set Color of Overlay swatch to the right of the Blend
Mode drop-down list, and set the color in the Color Overlay to RGB:
110, 170, 240 in the Color Picker when it appears (Figure 5.15).

The remaining effects make specific results in the image. The Satin
will leave a slight sheen on the letters. The Color Overlay provides the
base color. The Inner Glow provides the reddened edges.

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FIG 5.15 The color suggested was sampled from the “I” in WILD in the image after step 3. You should now see the results of all three effects: Inner Glow,
Color Overlay, and Satin.

7. Change the Foreground color to Black (RGB: 0, 0, 0). This will be used
in applying a manual drop shadow in the next step.
8. Apply a manual drop shadow using the Drop Shadow/Glow action
provided with the Layer Effects action set loaded earlier in this
chapter. Use an Offset of 120, 120 and a Gaussian Blur of 10 (the
default blur) (Figure 5.16).

FIG 5.16 The result at this point shows a plain drop shadow in black, as if the Type object were very much opaque.

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9. Copy the layer style applied to the Wild Type Effectz layer. To do
this on a Windows PC, right-click on the Effects item under the Wild
Type Effectz layer and choose Copy Layer Style from the menu that
appears. On a Macintosh, hold down the Control key on the keyboard
and click the Effects item, then choose Copy Layer Style from the
menu that appears.
10. Paste the layer style copied in the previous step to the Drop Shadow/
Glow layer. To do this, activate the Drop Shadow/Glow layer, and
follow the instructions in step 9, but choose Paste Layer Style.
Alternatively you can choose Paste Layer Style from the Layer menu
(Layer Layer Style Paste Layer Style). Pasting the style applies it to
the layer.
11. Shut off the Visibility toggle for the Satin effect for the Drop Shadow/
Glow layer, and lower the Opacity to 70 percent. This will remove the
Satin’s sheen from the drop shadow and fade the drop shadow a bit.
At this point the results should look like Figure 5.17.

FIG 5.17 Copying the layer style from one layer to another makes sure the settings are similar between the drop shadow and the original object.
Only appropriate effects should apply, so the Satin is turned off, as the drop shadow will not reflect the sheen. However, the type is still not acting
translucent.

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12. Duplicate the Drop Shadow/Glow layer, rename the layer
Translucence, and move it to the top of the layer stack. This layer will
be used to make the letters seem translucent.
13. Load the Wild Type Effectz vector mask as a selection. To do this hold
down the Command/Ctrl key and click on the vector mask thumbnail
in the Layers palette. This will be used to mask the translucent effect
to the letters only.
14. With the Translucence layer still active, click the Add Layer Mask
button at the bottom of the Layers palette. This will use the selection
you just loaded to define the mask and target the Translucence layer
to the type only.
15. Lower the opacity of the Translucence layer to account for the
opacity of the type object. The more you lower the opacity, the more
opaque the type will appear (Figure 5.18).

FIG 5.18 Setting the Translucence layer to 35 percent opacity (half the original 70 percent opacity of the drop shadow) makes the letters about 50 percent
transparent.

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At this point we have successfully combined manual effects and layer styles in Fill versus Opacity
a way that would probably be more difficult and more time consuming using
Fill and Opacity seem
either alone. Check your results against the Sample_7.psd file included on
similar if you don’t know
the CD. exactly what they do.
The layer styles do the bulk of the work in this example by simplifying the Let’s try the following to
application and making the result more consistent; but without the help of make the difference more
clear.
the manual drop shadow the result becomes more difficult to achieve, as
well as less flexible. As with most results in Photoshop it is not a single tool or
application that provides the best results, but combinations.

To finish off the example to conform with the technique of using layers for
organization, you may want to add numbers to the layers so that you know
what order they were created in. You may also want to add some notes as to
the settings used for the offset and blur. With these final additions, the Layers
palette would look like Figure 5.19.

FIG 5.19 Comments and numbering
help round out the Layers advantage.

Try It Now
1. Open the Sample_6.psd image one more time.
2. Click the Wild Type Effectz to activate it, and choose Outer Glow from
the Add a Layer Style menu at the bottom of the Layers palette.

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3. When the Layer Style dialog appears, change the Blend Mode to
Normal (or perhaps Dissolve), the Size to 100 pixels, and the color to
Red (RGB: 255, 0, 0), then click OK.
4. Go to the Opacity for the layer on the Layers palette and swing the
slider from 100 to 0 percent and back again to 100 percent. The
whole content of the image will fade and return.
5. Try the same thing you did in step 4 with Fill (leaving Opacity at 100
percent). Only the actual content of the layer will fade and return, the
effect remains the same.

Opacity affects the entire layer, and Fill affects the content of the layer
only—not the styles that have been applied. Although Fill may work
to accomplish your goals, it will often be best and make most sense to
use Opacity for your control unless you are affecting how styles appear
separately from layer content. In the latter case, use Fill.

Summary
Layer Styles and Effects are layer-specific tools that carry with them a plethora
of possibilities. The effects are the tools, but the real catalyst here is layers.
Layers are the means by which layer effects and styles can be assimilated and
propagated in images for corrective and creative purposes. They are also the
means of creating new sources to which additional effects and styles can be
applied to (such as the shape for the drop shadow and the mechanism for
creating translucence).

In the seemingly simple examples in this chapter, we have used vector and
layer masks, manual and layer-based styles and effects, Visibility toggles,
opacity, and modes. The results achieved are not so much an application of
any one item as an orchestration of various functions and capabilities that
culminate in the result. This is the modus operandi for much of Photoshop
correction: results are born in the application of tools in unison. Layer styles
are a powerful tool in their own right, but will often work best with layer
modes. One of the hardest things to envision when using layers may be what
Layer Modes achieve. We look at them in the next chapter.

Layer styles can help do many things, from adding a creative frame to an
image in varying complexity, to creating text effects, to driving some image
enhancements. Things that come to mind as practical corrections are simple
exercises in separation in which you add a drop shadow or glow to burn or
dodge an edge around an isolated object, or in which beveling or embossing
may actually help enhance contour.

Creative application of styles, on the other hand, opens endless possibilities.
Though not technically “styles,” there are examples of applying manual styles
throughout this book in various examples. These effects include everything

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from simple dodge and burn, and application of techniques for soft focus
(like those we looked at in Chapter 4), to more elaborate calculations such as
manual sharpening techniques, and beyond.

One of the key concepts for looking at layers in this chapter is the concept of
orchestrating layers to achieve a result. It is not often practical or desirable
to try and achieve a result in your images all at once with one application of
one tool, or even one application of one layer or one effect. Most effects and
results can be achieved in more than one way. In the examples in this chapter
it took only a few layers to achieve the translucence effect, but the example
is steeped in the broader vision you will need to develop by practice to use
layers effectively. As we have seen, the background and lower layers are a
stage to build on. Older layers in the image can be borrowed from, reused,
and generated to create varied results. Envisioning the result is the key to
success, and layer styles are just another building block to use in achieving
your vision.
Please visit http://www.photoshopcs.com for more information and resources
for Photoshop Styles. Post your questions on the forum!

141

CHAPTER 6

Exploring Layer Modes

L ayer Modes are an enigma. Located in a drop-down list at the top of the Layers
palette in a very prominent spot next to Opacity, the positioning suggests that
modes are one of the most important tools in the Layers palette. For users who
are experienced in applying the modes, this is true. However, few people know
modes well enough to use them effectively. Many times people don’t stray from
the Normal mode as the rest is mostly a mystery. The modes have names, but the
names alone don’t really explain how to work with them or what they do. Unless
a mode change is part of a tutorial, layer mode use will more likely be done by
trial and error: people experiment with modes by selecting different ones from
the list to see what happens, and they either keep the result or try another mode.
This kind of hit-or-miss application is fine, and can produce pleasant surprises, but
it will gobble up huge amounts of your imaging “play” time. In a way, this type of
experimentation with modes is very similar to how some people use filters. There
is, however, a better approach to applying layer modes: actually knowing what
they do and when they can be helpful and which to use.

In this chapter, we’ll look at a general overview of Layer Modes, what they are,
how to apply them, and what they can accomplish. We’ll look at ways that you
can use layer modes every day for image enhancements and improvements
by using them to target your corrections.

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Layer Mode Behavior
Layer blending modes can be a creative or practical tool for combining and
enhancing images and layer content. However, as the misunderstood half-
sister of Styles and Filters, Modes proffer little more to most users than a means
for experimentation. Like winery visitors lining up at the tasting bar after a
tour, users swish and sample anything that gets poured in a glass, hoping
something will stand out to their palette—and then spit out what doesn’t.
Here, too, experimentation can be fun, but better understanding of the modes
and what they do can turn fruitless experimentation into selective choice.

Modes, put simply, are a means of blending the content of two or more layers.
It can help to start thinking of modes as a means of turning layers into image
calculators. When a layer is set to a particular mode, the content of the layer
acts in that mode on the content of the visible layers below it in the layer
stack. The visible result is a direct correlation to a cold calculation built into
the mode. Most layer modes are not really useful for everyday correction, but
some are, and when they are useful, they are very powerful tools. The whole
problem in making calculations work for you is deciding what to do—and
what mode you’ll want to use to accomplish the result. So making use of
modes productively depends on knowing how they act.

Though it is often what users look for, flat descriptions of the numeric
calculations that modes use may be the least helpful means of really
understanding what a mode accomplishes. It is often difficult even for the
mathematically inclined to envision how a calculation applies as a visual
result. Descriptions of the effect may be slightly more helpful, but not entirely
intuitive. A combination of description and a simple example may be most
helpful, and that is what we will look at here to start you thinking about how
to employ modes.

Figure 6.1 shows two simple layers that will be used as the source images for
comparing how the modes behave when applied to tone. You can find these
layers in the Sample_8.psd file on the CD, already stacked in an image if you
want to play along. Figure 6.2 shows two layers that can be used to evaluate
how modes behave when applied to color and tone. You can find these set up
in the Sample_9.psd file on the CD.

FIG 6.1 There is more to modes than
evaluating how black, white, and
gray combine, but simplicity can be
a valuable teacher. This should reveal
how tone and even color channels will
behave in a particular mode.

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FIG 6.2 These color swatches pit one
color rainbow against another to show
color behavior. It is perhaps prettier
exploring the full harmonics, but far
harder to intuit.

To test the modes, all you need to do is change the mode of the upper layer in
the test file (and, when applicable, opacity) to see the effects modes have on
what we see in the result on screen. Simply open one of the sample images,
activate the Upper layer/Calculation layer, and choose a mode from the Mode
drop-down list on the Layers palette. This will apply the mode and give you
some visual sense of what happens when layers are applied with different
modes.

To give you a better understanding of each mode individually, I’ll list
descriptions of what the modes are doing along with the result of the mode
applied to Sample_8.psd; then we’ll look at some more concrete examples
as to how this applies to images and how to apply the modes. I have not
included the results here of mode adjustments for the color model in
Sample_9.psd. The results for color are, at the very least, three times as hard
to envision as they are for tone—though I could argue that they are many
more times more difficult than that. If you learn to envision the results in black
and white you will have the conceptual building blocks you need to use layer
modes as a tool rather than a toy. Sample_9.psd is included on the CD for your
experimentation should you feel the need to test color.

All descriptions listed here assume the upper layer is opaque (layers
set to 100% Opacity), unless opacity is otherwise mentioned. The name
of the mode is followed by the previews and description, which includes
practical uses for the modes. This is not meant to define limitations; there
may be many creative uses for any particular mode that go beyond the
simple descriptions.

Normal
Normal mode is a plain overlay of content in the layer. The result takes on the
color/tone of the pixels in the upper layer. This is the default mode of layers
and is probably by far the most often used. Layer content is made part of the
result as is, not as a calculation (Figure 6.3).

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FIG 6.3 Normal mode is a
straightforward application of layer
content in which the upper layer
covers everything below. Used most
frequently of all modes.

Dissolve
The result of using Dissolve mode is the color/tone of the pixels in either
the upper layer or the lower layer, determined on a pixel-by-pixel basis
according to the opacity of the layer. The greater the opacity of the layer in
Dissolve mode, the more pixels display from the layer. At 100% Opacity, 100
percent of the pixels in the upper layer display; at 50% Opacity, 50 percent
of the pixels in the upper layer display. The layer is dithered so that pixels are
either visible or invisible according to the opacity percentage; the opacity
percentage dictates the percentage of pixels in the layer that will display.
Pixels are hidden in a randomized or dithered effect. This mode may be best
for specialized uses for web graphics and in creation of animation effects
(Figure 6.4).

FIG 6.4 Shown here at 50% Opacity,
Dissolve creates a dithering effect.
Used very rarely, if at all, in corrections/
enhancements.

Darken
The results of showing the darkest color value in each channel, comparing
the content of the layer on which the mode is assigned and that of the
layer(s) below, are shown (Figure 6.5). No portion of the image gets lighter
in the comparison. For example, in an RGB image, if the pixel in the layer set
to Darken is RGB: 255, 170, 33, and the lower layer pixel is RGB: 45, 165, 44,
the result is the lower (darker) of any of these numbers for each channel, or
RGB: 45, 165, 33. The result will never get darker than existing values,
possibly forming a third color. Used as a means of darkening content when
the user does not expect color to darken any more than the colors being
applied.

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FIG 6.5 No channel becomes darker
than either of the 2 pixels occupying
a space. Used infrequently in
corrections/enhancements.

Multiply
Darkens the result by increasing the darkness of underlying layer(s) based on
the darkness of the layer on which the mode is applied. Any tone darker than
white in the layer set to Multiply mode darkens the appearance of content
(Figure 6.6). Successive applications of the same layer in Multiply mode will
produce a continually darker result. No portion of the image can get lighter.
Often used with effects of burning in or shading, like drop shadows and the
shadow side of beveling. Also useful in creating layer-based color separation for
RGB and CMYK (Chapter 8) to simulate the effects of filtering light or ink colors.

FIG 6.6 Each pixel darkens equal to
or darker than the pixels occupying
the same space in the layer stack.
Used frequently in corrections/
enhancements for burning in and
darkening.

Color Burn
Burns in (darkens) the color of the lower layer based on the content of the layer
set to Color Burn, darkening the result. Tends to burn in or enrich color density.
No portion of the image gets lighter. The greater the difference between the
applied pixel colors and the content (Figure 6.7), the greater the percentage of
change. Used for special effects and sometimes for color enhancement.

or darker than the pixels in the layer
on which the mode is applied and
the layers it interacts with below.
Used infrequently in corrections/
enhancements.

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Linear Burn
Similar to Multiply but more extreme and linear in application. All portions
of the image get darker in areas where the content of the layer on which the
mode is applied is darker than pure white (Figure 6.8). Used in calculations, like
layer-based channel mixing (see Chapter 8).

or darker than the pixels occupying
the space. A linear application of
darkening. Used infrequently in

Darker Color
New as of CS3. Displays the darker of either of two colors in comparing pixels
in the layer on which the mode is applied to pixels in layer(s) below (Figure 6.9).
The result is defined from the total value of brightness of all channels in the
individual pixels; if the pixel in the layer on which the mode is applied is RGB:
255, 0, 0, and the pixel below is 0, 150, 150, the former (red) will display even
though it appears lighter on screen (because the average of the channels is
lower/darker).

FIG 6.9 Chooses the darker of two
colors for pixels occupying a space.
enhancements.

Lighten
The virtual opposite of Darken. Applying the mode results in showing the
lightest color value in each channel, comparing the content of the layer on
which the mode is applied to the layer(s) below (Figure 6.10). No portion of the
image gets darker. For example, in an RGB image, if the upper layer pixel is
RGB: 255, 170, 33, and the lower layer pixel is RGB: 45, 165, 44, the result is the
greater of any of these numbers, or RGB: 255, 170, 44, in this case forming a
third color. Used as a means of lightening underlying content when the user
does not want the color to lighten more than the color being applied.

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FIG 6.10 Nothing can become lighter
than the RGB values of the two pixels
occupying a space in the layer stack,
but the color will reflect the lighter of
the colors in each channel and can be
lighter overall. Used infrequently in

Screen
Brightens the result by increasing the brightness of underlying layer(s) based
on the lightness/brightness of the layer on which the mode is applied. Any
tone lighter than black in the layer set to Screen lightens the appearance
of the content below (Figure 6.11). Successive applications of the same layer
in Screen mode will produce a continually lighter result. No portion of the
image can get darker. Often used with effects of dodging and brightening,
such as glows and the highlight side of beveling. Useful in layer-based color
separation for RGB and CMYK (Chapter 8).

FIG 6.11 Each pixel lightens equal to
or lighter than the pixels occupying
the same space in the layer stack.
Used frequently in corrections/
enhancements for dodging and
lightening.

Color Dodge
The layer set to Color Dodge lightens (dodges) the layers below based on the
content of the layer, lightening the result. This mode tends to desaturate and wash
out color. No portion of the image gets darker. The greater the difference between
the applied pixel colors and the content (Figure 6.12), the greater the percentage of
change. Used for special effects and sometimes color enhancement.

or lighter than the pixels occupying the
space based on the difference between
pixel colors. Used infrequently in

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Linear Dodge
This mode is similar to Screen but more extreme and linear in application. All
portions of the image get lighter where the content of the layer on which the
mode is applied is brighter than pure black (Figure 6.13). Used in calculations,
like layer-based channel mixing (see Chapter 8).

or lighter than the pixels occupying
the space. A linear application of
brightening. Used infrequently in

Lighter Color
New as of CS3. This mode displays the lighter of either of two colors in
comparing pixels in the layer on which the mode is applied to pixels in
the layer(s) below (Figure 6.14). The result is defined from the total value of
brightness of all channels in the individual pixels; if the pixel in the layer on
which the mode is applied is RGB: 155, 155, 155, and the pixel below is 250,
150, 50, the former (gray) will display (the average of the channels is higher).

FIG 6.14 Chooses the lighter of two
colors for pixels occupying a space.
enhancements.

Overlay
Multiplies (darkens) when the layer on which the mode is applied is dark (1–49
percent brightness) and screens (lightens) when the layer on which the mode
is applied is light (51–99 percent brightness). This enhances contrast with
like content (if you make a composite at the top of the layer stack and set to
Overlay) and lowers contrast in inverted content (if you make a composite at
the top of the layer stack, invert it, and set to Overlay). Underlying pixel colors
at the center of the light and dark range (quartertones at 75 and 25 percent
gray) are affected more than the range extremes (0 and 100 percent brightness
or 50 percent gray). Useful for manual sharpening effects (looked at later in this
chapter). Also useful for intensifying color and contrast (Figure 6.15).

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FIG 6.15 Used in many places in
this book for layer-based correction/
enhancement. Sometimes used in

Soft Light
Similar to Overlay but a weaker application of the tones in the layer on which
the mode is applied. Multiplies (darkens) when the layer on which the mode
is applied is dark (1–49 percent brightness) and screens (lightens) when
the layer on which the mode is applied is light (51–100 percent brightness).
Underlying pixel colors at the center of the light and dark range (quartertones
at 75 and 25 percent gray) are affected more than the range extremes (0 and
100 percent brightness or 50 percent gray). Useful in some special effects (soft
focus) and for intensifying color and contrast (Figure 6.16).

FIG 6.16 Used in some places in
this book for layer-based correction/
enhancement. Used occasionally in

Hard Light
Multiplies (darkens) when the layer on which the mode is applied is dark (0–49
percent brightness) and screens (lightens) when the layer on which the mode
is applied is light (51–100 percent brightness). Similar to Soft Light and Overlay
but a more linear, stronger application of the tone in the upper layer. Useful in
some special effects and for intensifying color and contrast (Figure 6.17).

FIG 6.17 Used infrequently in

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Vivid Light
Similar to Color Burn when the pixel in the layer on which the mode is applied
is darker than 50 percent gray. Similar to Color Dodge when the pixel in the
layer on which the mode is applied is lighter than 50 percent gray (Figure 6.18).


Linear Light
Similar to Linear Burn when the color in the layer on which the mode is
applied is darker than 50 percent gray. Similar to Linear Dodge when the color
in the layer on which the mode is applied is lighter than 50 percent gray
(Figure 6.19).


Pin Light
Similar to Multiply when the layer on which the mode is applied is darker
than 50 percent gray. Similar to Screen when the layer on which the mode is
applied is lighter than 50 percent gray (Figure 6.20).

FIG 6.20 Used rarely in corrections/
enhancements.

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Hard Mix
Adds a limited color palette effect to the Vivid Light effect. It will posterize the
result to appear as one of eight colors: white, red, green, blue, cyan, magenta,
yellow, or black (Figure 6.21).

enhancements. May have a place in
special effects.

Difference
Shows the result of calculating the difference between pixel values. A large
difference yields a bright result; a small difference yields a dark result
(no difference yields black). Useful in image evaluations to show/measure
differences between corrections (stack two layers for comparison and set the
upper to Difference—everything that is not pure black is different) and in
some special effects (Figure 6.22).

FIG 6.22 Can be used for comparing
layer content.

Exclusion
Uses the darkness of the layer on which the mode is applied to mask the Difference
effect (see Difference above). If the layer on which the mode is applied is dark,
there is little change as the result; if the upper layer pixel is black, there is no
change. The lighter the pixel in the upper layer, the more intense the potential
Exclusion effect. Mostly used for special effects and perhaps masking (Figure 6.23).

enhancements.

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Hue
Overrides the Hue of lower layers based on the content of the layer on which
the mode is applied, leaving the Saturation and Luminosity unchanged. Used
for color adjustment (Figure 6.24).

corrections/enhancements to adjust
hue.

Saturation
Overrides the Saturation of lower layers based on the content of the layer on
which the mode is applied, leaving the Hue and Luminosity unchanged. Used
for color adjustment (Figure 6.25).

corrections/enhancements to adjust
saturation.

Color
Overrides the Hue and Saturation of lower layers based on the content of the
layer on which the mode is applied, leaving the Luminosity unchanged. Used
for color adjustment and layer-based Luminosity and Color separations (later
in this chapter) (Figure 6.26).

FIG 6.26 Used in corrections/
enhancements to adjust or apply and
even remove color.

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Luminosity
Overrides the Luminosity of lower layers based on the content of the layer on
which the mode is applied, leaving the Saturation and Hue unchanged. Used
for tone adjustment and layer-based Luminosity and Color separations (later
in this chapter) (Figure 6.27).

FIG 6.27 Useful for adjusting tone
independent of color.

The figure legends suggest the modes you are likely to use most frequently,
with the most success, and occasionally for what purpose. However, the
modes that you will find most useful are highlighted in Table 6.1.

TABLE 6.1 Modes.

Useful Occasionally Used Rarely Used
●
Normal ●
Difference ●
Hue
●
Multiply ●
Darken ●
Saturation
●
Screen ●
Lighten ●
Dissolve
●
Overlay ●
Linear Burn ●
Color Burn
●
Soft Light ●
Linear Dodge ●
Darker Color
●
Color ●
Color Dodge
●
Luminosity ●
Lighter Color
●
Hard Light
●
Vivid Light
●
Linear Light
●
Pin Light
●
Hard Mix
●
Exclusion

This listing is not meant to say “Hey, you can’t ever use the layer modes in the
Rarely Used column,” but rather that you’ll have far more luck with the modes
in the Useful column and that you will likely get to the point at which you can
predict results with them. The modes in the last column are most often just
variations of the modes in the first, and the result you get might be better
controlled with Opacity or by duplicating layers that use modes listed in the
useful column to accentuate effects, rather than reaching for a less predictable
or more complex mode. And it is exactly the complexity of some of the modes
that renders them less useful: as complexity increases, the visual result gets
far harder to predict, and the tools become toys that you must experiment

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with to use. Better, too, is that you can concentrate on learning a subset of the
modes to reap nearly all the benefits of what modes have to offer.
Even more valuable than descriptions of modes and of which are useful are hard
examples of layer mode use that explain what the modes do. Let’s take a look at
some practical applications of layer modes to see how you might employ them
to accomplish some useful results, starting with separating color and tone.

Separating Color and Tone
In our discussion of isolating objects and image areas and using masking, we
concentrated on simple isolation based on shape. A whole different realm of
isolation can be explored in isolating by qualities in the image, such as color
or tone. Layer modes can help make isolation of these qualities possible.
One of the easiest results for you to digest in working with layer modes is applying
Color and Luminosity. With these two modes you can isolate the content of a layer
so it affects only tone or only color. You can also use this same functionality to
isolate content based on those modes. Separation is accomplished quickly with
simple layer-based calculations and application of layer modes.

Try It Now
1. Open any image. Or you can use the Sample_10.psd image provided
on the CD (see Figure 6.28).

FIG 6.28 A version of the cover shot
for the first edition of this book will
provide plenty of color and tone for
exploring the Luminosity and Color
separations.

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2. Flatten the image, if it is not flattened already (choose Flatten Image from
the Layer menu). Flattened images will have a Background layer only.
3. Duplicate the Background layer and name the duplicate layer 1 Source.
4. Create a new, blank layer above the 1 Source layer, and name it 2
Grayscale.
5. Fill the 2 Grayscale layer with 50 percent gray (choose Edit Fill then
set the Content Use selector to 50% Gray).
6. Change the 2 Grayscale layer to Color mode. Your Layers palette should
look like Figure 6.29, and the image will become a grayscale representation
of the image, as the gray “color” is being applied to lower layers.

FIG 6.29 Applying gray as a color
converts the view of the image to
black and white. The result is a display
of the luminosity of the image —a
representation of the image based
on tone. You could use this separated
component to adjust the image tone.

7. Create a new layer at the top of the layer stack and call it 3 Luminosity.
8. Press Command Option Shift E/Ctrl Alt Shift E to stamp the
visible image to the new layer. This commits the grayscale change to
the new layer.
9. Set the layer mode to Luminosity. This completes separation of the
Luminosity component. Shut off the layer view for 3 Luminosity
(see Figure 6.30 for the layer setup).

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FIG 6.30 Your numbered layers mark
your progress through the separation.
You’ll use the 1 Source and 2 Grayscale
layers again to achieve the result
captured with 3 Luminosity.

You now have the luminosity separated from the color and you can isolate
tone changes by toggling on the visibility of the 3 Luminosity layer and
applying changes to it. To isolate the color, continue with the steps where
you left off.

10. Activate the 2 Grayscale layer by clicking it in the Layers palette.
Change the mode to Normal (the image will appear to be flat gray
again), then press Command [/Ctrl [ to move the 2 Grayscale
layer below the 1 Source layer. The image will become color again
(Figure 6.31).

158


FIG 6.31 Invert the order of the
Source and Grayscale layers to prepare
for the next steps.

11. Change the 1 Source layer mode to Color. What you will see is the
color separated from tone over gray (Figure 6.32).
12. Create a new layer above the 1 Source layer and name it 4 Color.
13. Press Command Option Shift E/Ctrl Alt Shift E to stamp the
visible image to the new layer.
14. Change the mode of the 4 Color layer to Color.
15. Shut off the view for the Background, 1 Source, and 2 Grayscale layers
by toggling the visibility, and turn on the 3 Luminosity layer. Only the
4 Color and 3 Luminosity layers will be visible (see Figure 6.33), but the
image will be as it was in full color from the two distinct components
you created.

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FIG 6.32 Color isolated from
tone appears over a neutral tone
background.

FIG 6.33 The Color and Luminosity
components in the image can
combine to display the original color
image. Switch the Visibility toggle
off for either to view the companion
component alone.

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All that has happened in this example is that you are using Layer Modes to
create different views of your image. In this case the views substitute for the
color and tone/luminosity in the image. The steps help you isolate the view for
luminosity using Layer Modes and then capture a snapshot of that luminosity in
a Composite layer. Next you isolate the color and capture a screen shot of that.
The newly isolated components simply represent the image in a different form.
Because the modes represent color and tone separately, you now have control
over color and tone components separately. This can be a great advantage in
situations in which the color is right but the tone is wrong, or vice versa. Apply
color correction to the Color layer (e.g., you might apply a Hue/Saturation
adjustment that would be isolated to the color) and tone corrections to the
Luminosity layer (you might apply a Levels correction to the RGB channel to
extend the dynamic range of the tone independent of the color).

This calculation for separation of color and tone will work with any
RGB image. Open any image and try out the steps, then apply isolated
color and tone changes to see how it works.

At the same time the separation shows what setting a layer to a particular
mode does. The layer sets in Figures 6.34 and 6.35 show layers that will achieve
exactly the same results using a Levels correction, yet offer different

FIG 6.34 Although it takes extra steps
to make the separation, the separated
component offers other opportunities
to make image changes to the isolated
component.

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FIG 6.35 If you need to make a direct
change to the component using
only an Adjustment layer, you can
set the Adjustment layer to target
content using the modes and skip the
separation with the same exact results.

advantages. The layer set with the separated luminosity component will allow
changes to the content of the luminosity, such as sharpening or spot and dust
correction; the version with only the Levels set to Luminosity saves file size,
but does not offer the option of other luminosity adjustments to the pixels.

Here we’ve used layer modes to extract separate components for color and
tone and to look at exactly what modes can do. But this is just the beginning
of color-based separation and isolation of image components. We’ll look at
more color separation in Chapter 8, and there we will apply more modes. Now
let’s look at layer modes used specifically for correction and the flexibility they
offer by working with manual sharpening calculations.

Sharpening Calculation
Layer calculations are a means of pitting information in one layer against another
and coming to a new result. These results are often facilitated by layer modes.
The previous exercise is an example in which we are able to calculate and extract
Luminosity and Color components from the image using a 50 percent gray layer
and application of layer modes.

Calculations have many creative and interesting uses, most of which are not
immediately obvious. One of the first really useful layer calculations I devised
after working with several to extract image components (e.g., luminosity, color,
RGB channels, CMYK channels) was using layers and modes as calculations to
mimic darkroom effects, such as creating a manual unsharp masking effect.

Unsharp masking was a darkroom process before it was ever a Photoshop or
Elements filter. The photographer developing in the darkroom would sandwich
an inverted blurred copy of the image negative with the original to enhance
contrast in the exposure of image edges. The blur would target change to
image edges to enhance contrast, and the result after the application would be
a sharper look to the image. It was the mask used to create the effect that was
“unsharp,” and that is where the name “unsharp mask” comes from.

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The layer-based application of an unsharp mask that follows is a little different
from the result you’d get in the darkroom or the result you get using the
unsharp mask filter, but it is a viable digital alternative that builds on the same
concept. We’ll borrow a little of what we learned in the last exercise to isolate
our corrections to the image tone and create unsharp masking in the following
exercise.

Try It Now
1. Open a flattened image to which you’d like to apply an unsharp mask
calculation, or open an image and flatten it. An interesting image to
use with this technique is Sample_11.psd (shown in Figure 6.36).
2. Duplicate the Background layer and name the new layer 1 Unsharp
Mask.
3. Duplicate the 1 Unsharp Mask layer and name the new layer 2 Color.
Change the layer mode of the 2 Color layer to Color. At this point the
Background, 1 Unsharp Mask, and 2 Color layers all have the same
content.

FIG 6.36 This unusual vegetable
has shading that renders a strong
difference when using this technique.

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The role that the two duplicated layers play in the image dramatically
changes with their change in mode. Changing the mode of the Color
layer makes the Color layer a color lock: the positioning at the top of the
layer stack with the original color information allows tone to change
below without changing the original color. Though an actual separation
of the color has not been completed, the change to mode effectively
separates the content and effect.

4. Activate the 1 Unsharp Mask layer by clicking on its thumbnail in the
Layers palette. Change the mode to Overlay, change the Opacity to 50
percent, and then invert the content of the layer (press Command I/
Ctrl I). This layer acts as the inverted negative. We’ll blur it in the next
step.
5. Blur the 1 Unsharp Mask layer using Gaussian Blur. The size of the blur
will depend on the resolution of the image and the amount of detail.
The more detailed the image, the less blur; the higher the resolution,
the greater the blur. Start with a 15-pixel radius for a 3 5 image at
300 ppi; use a greater radius for larger images. You can preview the
changes as you move the slider.

The result of these steps (see Figure 6.37) is a sophisticated mask based on the
content of your image. It is not a mask in the traditional sense, because you
have not made a visible selection with selection tools; however, the technique
of inverting, blurring, and setting the mode (Overlay) effectively makes the
content self-masking to target the effect. This is a more complicated result
than what you achieved with the 2 Color layer, but that can be considered a
mask as well: masking image color.

The Unsharp Mask layer you have created ends up working much like the
sandwiched negative in the darkroom process, pretty much opposite to
the way that the Unsharp Mask filter does: reducing image contrast in the
quartertones to pull details from shadows and highlights. Unsharp Mask
pushes dark areas darker and light areas lighter, sometimes leading to a loss
of detail (blowing out or blocking up image areas). Because the effect of this
manual unsharpening procedure is nearly the opposite of the Unsharp Mask
filter, the manual unsharp effect and the Unsharp Mask filter effect can be
used together. Because you can use them in tandem, you can greatly intensify
image contrast changes and apply more sharpening than can be achieved
with the Unsharp Mask filter alone.

One added benefit to the manual version of sharpening is that, because
of the nature of Overlay mode, the result will not tend to blow out (move
bright areas of the image to RGB: 0, 0, 0) or block up (move shadow areas of

164


FIG 6.37 Note the changes to the brightness at the right/shadow side of the parsnip and the brightness of the tendrils. This change occurs because of the
local contrast enhancement brought about by the application of the blurred layer in Overlay mode.

the image to RGB: 255, 255, 255), as the Unsharp Mask filter can easily do.
Tones and colors at the extremes (absolute white, absolute black) and middle
(50 percent gray) are less likely to change than the quartertones (75 and 25
percent gray). This can keep you from harming the detail in your image and
will likely not cause the type of halo you can get with Photoshop’s Unsharp
Mask filter.

All that aside, you have successfully used Layer Modes to perform a very
complex calculation to enhance the information in the image and simulate
sharpening. This is a useful technique that can be replicated with any image,
though you are most likely to have success with it on images that are already
contrasty overall, rather than images with low general contrast (in which case
the Unsharp Mask filter will be more effective).

165


Summary
We have looked at the basics of Layer Modes in an overview and then jumped
into two evolved techniques out of hundreds of variations that can be
produced with layer modes. Certainly layer modes are not hard to apply, but
I hope that this chapter and these exercises have shown that applying layer
modes is not necessarily best to do based on trial and error and that very
sophisticated and calculated results can be achieved. It may take some time
to develop confidence in using layer modes, and even longer to start thinking
in terms of deriving your own original calculations, but the few examples here
may start you contemplating mode application rather than simply attempting
to arrive at pleasant results by chance. A mode is a means of isolating effects,
different from, but similar to, the purpose of selection.

Sticking with the preferred list of modes outlined (and exploring the examples
in the rest of the book) will help you maintain focus on the modes that will
be most effective in your image corrections and those you are most likely
to absorb as part of your work flow. Practice the exercises for separating
color from tone and applying manual sharpening using your own images
to see how the techniques behave. Simple modes such as Normal (default),
Multiply (darken, burn), Screen (lighten, dodge), Overlay/Soft Light (contrast
enhancement), Color (lock color or change color), and Luminosity (lock tone
or change tone) will become your workhorse tools. Lighten and Darken
may be useful for special needs, Linear Burn and Linear Dodge (used in later
chapters for channel mixing) will come into play as you have more experience,
and Difference might be used in certain circumstances for comparison’s sake
(as we’ll see in the next chapter). The rest of the modes will likely remain as
hit-or-miss possibilities. Concentrate on what the “easy” modes do, and you
can add the bulk of what modes will enable for you day in, day out.

Just to reinforce the notion of focus for a moment, note that there are section
dividers on the listing of modes (see Figure 6.38). These section dividers are
really akin to submenus. The first section applies straight color/tone from the
layer, the second section deals with darkening, the third section has modes
that lighten, the fourth has mixed conditional calculations, the fifth has
calculations based on the difference between applied and base pixels, and the
sixth has calculations based on color or tone. Understanding the behavior of
one of the modes in each of the sections will really yield clues as to what the
rest of the modes in that section do—even if they do it very differently. The
more complex the mode, the less likely you will use it often.

The visual result of applying a layer mode does not actually reside in any
one layer—especially if multiple layers are combining to produce a result.
You see the result of the calculation on screen. Keep in mind that to bind
effects (and to apply additional modes), you may need to use the composite
layer technique (create a new layer and merge visible to the new layer with
Command Shift Option E/Ctrl Shift Alt E).

166


FIG 6.38 Six sections of the Mode
menu reflect distinct submenus.

Whereas Layer Modes are certainly a more advanced way to look at image
content, the parade of extraordinary layer powers continues in the next
chapter with exploration of advanced blending modes.

If you have any questions about Layer Modes and their use, be sure to visit the
web site for this book, http://www.photoshopcs.com; bring your questions to
the forums, and let me know what you are thinking!

167

CHAPTER 7

Advanced Blending
with Blend If

Y et another means of combining and targeting content changes can
be found lurking in the Photoshop Layer Style dialog. We have already
looked at some of what the Layer Style dialog can do when exploring layer
styles in Chapter 5. However, Blend If is a more advanced feature on the
Layer Styles dialog that offers opportunities separate from masking and
clipping that we will definitely want to explore in order to round out the layer
experience (Figure 7.1).

Blend If: An Overview
Blend If is very much an overlooked and even mysterious feature to almost
any Photoshop user. If you try looking this feature up in manuals and books,
you may not be able to find it. In fact even searching Photoshop Help will not
yield a title with Blend If in it (though the feature is referenced by function
in “Specify a blending mode for a layer or group” and “Specify a tonal range
for blending layers”). Although the tool may not be a very popular target for
tutorials and documentation, it is an enormously powerful tool that has been
part of Photoshop Layers since the very inception of layers themselves.

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FIG 7.1 The Advanced Blending
and Blend If sections of the Layer
Style dialog offer additional layer
advantages not often explored, but
very powerful.

What Blend If can do is help you target changes and corrections based on
the color or tonal content of a layer by range. In a way it is like an auto-mask,
in that it will mask a layer without you actually having to create a mask or a
selection—and these masks can be highly complicated without much work.
Setting Blend If adjustments will target change based on positions of a set of
sliders (the Blend If sliders on the Layer Style dialog). Before we go any farther,
let’s take a look at the basic Blend If functionality and how you control it
before we really try to look at what it can do.

Try It Now
1. Open a new image that is 720 720 pixels, with a white background
(see the New Image dialog in Figure 7.2).

FIG 7.2 The New dialog for the sample
image used in this exercise should
have the settings shown here.

170

Advanced Blending with Blend If

2. Create a new layer and call it Blend If Test.
3. Press D to set the default colors (black and white).
4. Choose the Gradient tool and be sure the Options are set to Linear
Gradient, Normal Mode, and 100% Opacity, and uncheck Reverse,
Dither, and Transparency. Choose the Foreground to Background
gradient. To do this, click the gradient color bar on the Options panel,
and click the gradient in the top left of the Gradient Editor dialog that
appears. See Figure 7.3.

FIG 7.3 If the Foreground to
Background gradient is not in the
dialog, you will want to reset the
gradients. To reset the gradients,
choose Reset Gradients from the
Gradient Editor palette menu found at
the upper right of the Presets panel.

5. Click on the lower right of the image and drag the cursor to the
upper left, then release the mouse. The image should fill in a
gradient from black to white from the lower right to the upper left
(see Figure 7.4).
6. Take a snapshot of the image by clicking the Snapshot button at the
bottom of the History palette (Windows History). Leave the name as
the default (Snapshot 1). This will make it easy to return to the state
of the image before blending is applied and without having to open
the Layer Style dialog to reset.

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FIG 7.4 The result of applying the Gradient tool should be a simple black-to-white gradient in the image square.

7. Double-click the Blend If Test layer in the Layers palette (anywhere
but on the thumbnail or over the name). This will open the Layer
Style dialog.
8. Click on the black This Layer slider and drag it to the center of the
slider range at 128 (see Figure 7.5).

FIG 7.5 As you drag the cursor, the darker portion of the image should disappear from the screen from the lower right corner to halfway across the
image. Notice that the layer in the Layers palette retains its content.

The numbers on the Blend If sliders span in levels 0–255. This
corresponds to a range from black (0) to white (255) in a grayscale
gradient.

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The change in position of the slider limits the range of what is visible in the layer
(in this case the gradient), so it becomes transparent and blends with what is
below based on those slider positions. Blend If does not delete the content
of the layer, but instead acts like a mask, hiding the content. In this case the
effect falls in a range of tone, masking the shadows in the Blend If Test layer.
Everything to the left of the black slider and everything to the right of the
white slider becomes transparent. If you shut off the Visibility toggle for the
Background layer you can see the transparency. Continuing from the exercise,
try the following Blend If slider positions to get a better feel for the way it works:
●
Move the black This Layer slider back to 0 and then move the white This
Layer slider to 128 (Figure 7.6).

FIG 7.6 The darker half of the content will remain. The gradient between gray and white will become transparent through to the background in the upper
right of the image as if the Blend If settings made a highlight mask for the content of the layer.

●
Move the black This Layer slider to 192 and then move the white This Layer
slider to 63 (Figure 7.7).

FIG 7.7 The area between the white slider and the black slider will become transparent through to the background in the middle of the gradient range. This
Blend If setting is the equivalent of a midtone mask.

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Applying layers with Blend If can occasionally be confounding when
using the This Layer slider because the results can change as you edit
the image. However, when you see the differences between this and
masking, you will see that it can be useful and do things that standard
layer masking will not. Any changes you make to the layer content for which
the This Layer Blend If sliders are set may result in changes in the masking
effect in the image. To test this out, make a Levels adjustment to the Blend
If Test layer (Image Adjustments Levels). When the dialog opens, swing
the center gray slider left and right and watch how the image behaves.
Because the content of the layer is being adjusted, more or less of it falls
into the static range defined by Blend If. Close the Levels dialog without
committing the change. Now do the same thing with an Adjustment
layer by choosing Levels from the Create New Fill or Adjustment Layer
menu on the Layers palette. The direct application of Levels changes the
content of the layer so the masking effect is different and changes as you
make the adjustment; when you use an Adjustment layer, the content
of the layer does not actually change, so the masking effect stays in the
same area, though the visible result changes.

The same concepts hold true for using the Underlying Layer sliders. The main
difference is that the content of the current layer will blend based on the
content of the layers below, rather than the content of the layer on which you
apply the blend—layer transparency still affects the current layer. To see the
results of using the Underlying Layer sliders, do the following exercise.

Try It Now
1. Click Snapshot 1 in the History palette to reset the image and Blend If
sliders.
2. Double-click the Background layer and rename it White Layer.
3. Change the order of the layers in the layer stack by pressing
Command ]/Ctrl ] (Mac/PC). See Figure 7.8 for the layer positioning
in the Layers palette.
4. Double-click the White Layer in the Layers palette to open the Layer
Style dialog.
5. Click on the black Underlying Layer slider and drag it to the center of
the slider range at 128 (see Figure 7.9).
6. Move the black Underlying Layer slider back to 0 and then move the
white Underlying Layer slider to 128 (Figure 7.10).
7. Move the black Underlying Layer slider to 192 and then move the
white Underlying Layer slider to 63 (Figure 7.11).

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FIG 7.8 The White Layer should be
above the Blend If Test layer in the
Layers palette after step 3.

FIG 7.9 The White Layer becomes transparent over the darker area of the lower layer so you can see through it to the darker half of the gradient. Blend If
creates a mask in the White Layer based on the shadows below.

FIG 7.10 The White Layer becomes transparent over the brighter/highlight area of the lower layer so you can see through the white to the lighter half of the
gradient. Blend If creates a mask in the White Layer based on the highlights below.

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FIG 7.11 The White Layer becomes transparent over the midtone area of the lower layer so you can see through it to the midtone “half ” of the gradient.
Blend If creates a mask in the White Layer based on the midtones.

These examples are hard-edged applications of Blend If in its simplest form. Other
features of Blend If allow partial blending and blending based on color ranges
rather than just tone. Partial transparency—the real “blending” form of Blend
If—is created by splitting the sliders. Let’s look at how to split sliders to have all
the basic functions in tow before we apply them to more involved purposes.

Try It Now
1. Click Snapshot 1 in the History palette to reset the Blend If for the
layers and the layer order.
2. Open the Layer Style dialog for the Blend If Test layer by double-
clicking the layer.
3. Move the black This Layer slider so it is at 128 (as in Figure 7.5).
4. Hold down the Option/Alt key and click on the left of the black
slider and then drag it to 0. The slider will divide into two parts (see
Figure 7.12).

FIG 7.12 Holding the Option/Alt key allows you to split the slider; be sure to click on the side of the slider that is on the side you will be moving toward.

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Splitting the slider will blend the result from 0 to 100 percent opacity between
the split halves. In this case the gradient will blend smoothly to white by the
midpoint (and really a little before) without coming to a hard edge like it did
before the split. Splitting the sliders allows you to make a softer transition in
blends, similar to blurring a mask or feathering a selection. The idea is that you
gain control over how the edges of your blends dissipate, rather than using
them as an on/off switch for a particular range, as we have so far. When you use
them as on/off switches you may have noticed that the edges might end up
hard and blocky, but by splitting the sliders you can better control the blend.

Whereas we have looked at just tone ranges here so far, color
targeting can be done by choosing ranges for the Red, Green, and Blue
sliders found under the Blend If drop-down list (see Figure 7.13). Of course
using color-based blending can get extremely complicated pretty
quickly, and may take quite a lot of practice before you can get the results
you expect. We will continue to look at tone-based Blend If effects with
that in mind.

FIG 7.13 Blend If can be adjusted
per channel so that blending can be
targeted to specific color ranges.

Keep in mind that the difference between standard layer masking and Blend
If is that Blend If is based strictly on tonal (or color) ranges. Layer masks will
be static in accord with the mask as you create it; Blend If masks can change
as the content of the image does without adjusting the settings. Also, Blend
If and Layer masks can be used together to isolate image areas and target
change. In an instance in which you know you want to target a particular
tonal range and the selection or masking would otherwise be very difficult,
you could use Blend If to get you close to what you want and then layer
masking to touch up and complete the effect.

Knockouts
Another feature under Advanced Blending in the Layer Style dialog is
Knockout, another seldom-used feature with a specific ability—seldom
covered or explored because it is hidden on the Layer Style dialog. Knockout

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can behave much like solidity in the base layer of the clipping mask or as a
mask, but it does it from the top down rather than from below like a Clipping
layer or as a sidecar for layer masks. Take a look at this example to see how
it works.

To make a Knockout, try the following using the image from the previous exercise:

1. Click Snapshot 1 to restore the defaults you saved.
2. Double-click the Background layer and name it White Base.
3. Choose the Type tool, be sure you have selected a large type face like
Arial Black at 300 points, and change the type color to Red (RGB: 255, 0, 0).
4. Activate the Blend If Test layer by clicking it in the Layers palette, then
click on the image and type the word HOLE in all capital letters. Center
the type vertically and horizontally on the image. The image should
approximate Figure 7.14.

FIG 7.14 Align the word HOLE to the
center of the image.

5. Shift click on the Blend If Test layer to highlight both the HOLE layer
and the Blend If Test layer.
6. Drag the layers to the Create a New Group button at the bottom of the
Layers palette. Leave the default name, but toggle the arrow to expand
the group to see the two layers inside (Blend If Test and HOLE).
7. Double-click the HOLE layer to open the Layer Style dialog. Change
the Fill to 0 percent (the type will disappear), then choose Shallow from
the Knockout drop-down list. The type will appear in white, having
knocked out the base layer in the group (Blend If Test). See Figure 7.15.

FIG 7.15 Changing the content to
0% Fill and the Knockout setting
to Shallow will knock out the layer
content through the layers in the
group.

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8. Change the Knockout to Deep. The word HOLE will knock out to the
background. As there is no background in this image, it will knock out to
transparent (see Figure 7.16).

FIG 7.16 Changing the Knockout
setting to Deep will knock out the layer
content through all the layers in the
image (except the Background if one
exists). The checkers in the word HOLE
represent transparency.

Shallow knockouts punch through to the bottom of their group if they are in
one; Deep knockouts punch through to the Background—or transparency if
no Background is available in the image.

Blend If in Compositing
Situations that seem otherwise hopelessly complex may be good situations
for considering Blend If. For example, say you have taken a shot of a leafless
tree in silhouette against a blue sky and you think it might look better with
some other sky, with some interesting clouds, against a sunset, etc. It might
seem to be a daunting task to make a selection between all those branches.
You might try dabbling with the magic wand, but your results will be pretty
sketchy. Blend If offers the opportunity to make the replacement without
having to make a potentially unnerving and complex mask or selection. You
can use measurements from your image to determine a range you want to
replace, and then apply appropriate Blend If settings you make directly from
the image.

That makes it sound like a miracle cure to use Blend If … and there are
occasions on which it will produce some amazing results with little effort. On
the other hand, getting Blend If to do what you want may require patience
first, as well as combining it with masking or other techniques to achieve a
result. Like any other tool it is best to think of Blend If as a companion to other
functions rather than the Lone Ranger or some other hired gun that will come
in and do it all for you. The only way to really get a feel for Blend If is to look at
the reality of the way it works and the advantages it affords first hand.

The shots in Figures 7.17 and 7.18 were taken on the same day, one early in the
morning at South Street Seaport in New York City, facing nearly east, and the
other about 400 miles away near Rochester, New York, facing west. These

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FIG 7.17 There is no accounting for
weather, and you’ll often have to make
do with what you get. In this case
the drab sky can be replaced with the
more interesting one taken later in
the day.

images are Sample_12.psd and Sample_13.psd on the CD. They have little in
common but the day they were taken. Merging the two images to make the
sky more interesting behind the mast and cables would provide a solution to
the plain look of the sky. Getting the sky to show neatly around those cables
without a lot of manual effort would be significantly more difficult without
Blend If.

In the picture of the mast, the rigging is a real problem if you are looking to
replace the background. There are many cords crossing the scene, they are
different weights and somewhat different tones. The scene is lighter than
the image taken at dusk, and the light wraps a little around the ropes. If it
were more of a silhouette (plain black against gray) this might be easier. But
what we do have going here is that most of the cables are clearly darker than
the background. We can make Blend If do much of the work to differentiate
between the two tones and then use a little creativity with the method to
touch up the results.

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FIG 7.18 An image of the sky
taken later in the same day is far
more dramatic and may be what
the first image needs to show some
improvement.

Try It Now
1. Open the Sample_12.psd image off the CD. This is the mast from
Figure 7.17.
2. Double-click the Background layer and rename the layer Original
Mast in the New Layer dialog, then click OK to accept the changes.
3. Open the Sample_13.psd image off the CD. This is the sky image
from Figure 7.18. Place the images side by side on screen so both
are in view. You may need to adjust your view for the images
(Window Arrange Float All in Windows).
4. Choose the Move tool, hold down the Shift key, and click and drag the
sky from the Sample_13.psd image into the Sample_12.psd image.
Holding the Shift key will automatically center the layer you are
dragging in the destination image. Alternatively, you can duplicate

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the layer from Sample_13.psd to Sample_12.psd using the Duplicate
Layer command (Layer Duplicate Layer) or even Select All, Copy,
and Paste. All you are looking to do is to get the two images in the
same document. Name the new layer Original Sky.
5. Close the Sample_13.psd image, leaving open only Sample_12.psd,
which should now contain the source layers from both sample
images on separate layers.
6. Click on the Original Mast layer and move it to the top of the layer stack
by pressing Command ]/Ctrl ]. Your layers should look like Figure 7.19.

FIG 7.19 The sky in the Original Mast
layer will be blended into the sky in
the Original Sky layer.

7. Open the Threshold function (Image Adjustments Threshold). We
will use Threshold to measure the target range for applying Blend If.
Swing the Threshold slider to the right and left, looking for the point
at which the sky begins to darken in the upper right of the image.
Note the number and close Threshold by clicking Cancel so the
change is not saved in the image. If you push the slider left you will
note that the sky never completely becomes all black; if it had this
would define a range for the blend and you would have to get the
black slider involved (Figure 7.20).

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FIG 7.20 At about 186 on the threshold function, the sky at the upper right of the image begins to turn. Your threshold may be somewhat different based
on color settings.

Threshold is a tool that is useful in determining measurements of
your image content and is an unlikely candidate as a tool that you will
generally use in corrections themselves—though you might occasionally
use it to help create masks. Threshold turns an image into a pure bitmap
in which pixels are either white or black—there are no grays or colors
when the tool is applied.

8. Double-click the Blend If layer to open the Layer Style dialog. As you
want to drop away the lighter portion of the layer to reveal what is
beneath, use the white This Layer Blend If slider and move it to the
left to the value you measured in step 7. Then split the sliders and
give about 60 levels of blending (see Figure 7.21).

At this point the blending of the two images may not be all that you’d hoped …
and likely this is where some might give up and get disgusted with the tool
because it “doesn’t work.” Actually the tool did exactly what you asked of it
by masking off the sky, blending according to the settings you chose. It is the

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FIG 7.21 After splitting the sliders, visual evaluation suggested a broad blend to try to allow the ropes to transition smoothly, but not so far as to lose the
rope details. Additional work will help this adjustment work better and we’ll look at that as we continue the exercise.

images that are not getting along. The dark, rich sky is not natural against
the mast. The ropes are wrapped with the lighter tone from the original sky
and feel out of place. But the sky doesn’t have to be so dark, and it will match
better in the image and with the mast and ropes after it is lightened up a bit.
There is also no reason one application of a single tool has to be an endpoint. A
combination of tools and techniques often wins the battle. This is where vision
comes in. The problem here is the mismatch of the images, and that’s what we
have to look at fixing next. In this case we can actually help ourselves by using
another simple blend to make the images come together, show more of the
original, and mediate between extremes all at the same time. We can just lower
the opacity of the sky and tone it down considerably.

9. Change the opacity of the Original Sky layer to about 50 percent. This
will significantly lighten the sky and the ropes will blend better (see
Figure 7.22). Yet it creates another problem with transparency (which
we’ll fix in the next steps).
10. Duplicate the Original Mast layer, name the layer Sky Background,
and move it to the bottom of the layer stack by pressing
Command Shift [/Ctrl Shift [. This slides the content from the

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FIG 7.22 Lightening the sky brings the two parts of the image closer, but there is still more to do. The partial transparency (again represented by checked
areas) can be backed up and enhanced using the sky in the mast image so the blended image isn’t full of holes.

sky in the mast image below the sky you are replacing it with, though
it is still hidden by the Blend If settings.
11. Double-click the layer (anywhere but over the name) to open the
Layer Style dialog, and reset the styles to set the Blend If back to the
default settings. To do this press the Option/Alt key and the
Cancel button will change to a Reset button. Click it when it does,
then release the Option/Alt key and click OK to close the dialog (see
Figure 7.23).
12. Make a Levels correction to the image using a Levels Adjustment
layer. It should have settings similar to those in Figure 7.24.
13. Next, using Color Balance will help you enhance the color and
create a balance between the components that is pleasing (see
Figure 7.25).

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FIG 7.23 Restoring the sky behind the Original Sky layer fills in the blank spots and plugs all the holes while also reinforcing the cables.

The last several steps continue to look at the adjustments you are making
as a process. You will end with a layer stack and a final result that look like
Figure 7.26.

There are other things you can do to enhance the result further still. The
Sample_12_complete.psd image shows a variation that adds some smoothing
to the noisy color on the pole and a small mask on the Original Sky layer to
allow a brighter portion of the mast to show clearly. You may want to make
Hue/Saturation adjustments, Sharpening masks, or other corrections. The
point is, every step is an increment to creating the final image, it never gets
accomplished with one tool or in one move. If one tool only gets you halfway
to the goal you will need to employ others to get yourself farther along the
desired path.

You can try this same exercise using the Sky layer as the Blend If layer without
duplicating the Mast layer. That is, instead of making the adjustment by
putting the Original Mast layer on top and using the This Layer sliders, just use
the Original Sky layer as the top layer and apply the Blend If function there

186


FIG 7.24 See Applying Levels for Color Correction in Chapter 3 for
more about how to make Levels adjustments.

187


FIG 7.25 Color Balance allows you to tune the shifts in the image
to reflect the differences in the lighting and emphasis of the images
considered as a composite.

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FIG 7.26 With a better matching of the qualities of the two images, blending becomes an effective way to quickly reach a result that would have
been painful to accomplish using any manual method or more involved selection.

using the Underlying Layer sliders. The major difference will be that you will
use different settings for the blend: instead of using settings for the mast layer
that will blend out the sky, you will use settings to blend into the mast image.
As it turns out, the opposite settings work just fine (see Figure 7.27).

In either case we are looking to target the range of sky between the rigging in
the mast layer. Blend If can accomplish the task because there is enough of a
distinct difference between the sky and the rest of the layer content.

Though Blend If can make precise adjustments to specific areas of an image
and is handy for some types of targeting and blending, it is a little rigid when
it comes to adjustment. The drawback becomes more apparent when you get
into a situation in which you know Blend If would be more useful if you could
adjust the results like you can with a layer mask. The secret is in conversion.

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FIG 7.27 A different perspective on
the same adjustment. Blend If can
also be used to see through to layers
below and create visibility based on
underlying content.

Let’s take a look at color masking and working with transitions by creating
masks with Blend If.

Blend If as a Mask
Blend If is a very powerful tool for working in exacting ranges, and with
the right technique it can be used for everything from coloring black-and-
white images, to blending layer content, to substituting for, or working in
conjunction with, masking. There are, however, at least two glaring problems
with Blend If. First, the range is exact, which doesn’t leave any allowance for
manipulation to fit shapes. If you have an area that isn’t exactly within your
range, Blend If won’t target it precisely. Second, Blend If is not entirely intuitive
when you are working with tone, and it is even more difficult to work with to
address color ranges. All isn’t black and white or based strictly on tone, so the
problem of addressing color is inevitable.

The solution is to stick to using Blend If for what it is superior at: making
transparency based on specific ranges. Blend If creates transparency in the
current image layer, and you can convert that transparency to a clipping mask,
a selection, or a mask by manipulating the results. Once you have converted
Blend if to a mask or to solid pixel content (rather than just virtual transparency),
the results can be manipulated. For example, you could create a mask using
Blend If sliders to target a range of tones to either keep or throw out (based on
slider positions). You can do this in a set of steps such as the following:

1. Duplicate the layer you want to make into a mask and name it Blend Mask.
2. Determine the range of tone you want to use in the layer as a mask using
measurement or conceptual ranges (e.g., midtones).
3. Create a new, blank layer below the Blend Mask layer.
4. Activate the Blend Mask layer and set the This Layer range to the range
determined in step 2.
5. Merge down, and change the name of the layer to Transparency Mask.
This will commit the transparency of the Blend Mask layer to the
Transparency Mask layer.

This is similar to what we did in the previous exercise. Steps 3 to 5 lock the
transparency based on the Blend If range according to the original tone.
You can now use the Transparency Mask layer as a Clipping group base,

190


Shift click it to load a selection, or load the selection and use it to create
a mask. Committing the Blend Mask layer allows you to make it a physical
element so you can make changes in it—by changing the solidity of the
Transparency Mask layer, by altering the selection, or by making adjustments
to the mask.
Using this scheme, you can quickly use layer content to convert to custom masks:
●
Create a highlight mask based on transparency in the current layer by
splitting the black slider to 0 and 255.
●
Create a shadow mask by splitting the white slider to 0 and 255.
●
Create a mask that targets the lightest half of the image; split the black
slider to 128 and 255.
●
Create a mask that targets the darkest half of the image; split the white
slider to 0 and 128.
Blend If can be very effective in targeting tone. But Blend If can also allow you to
convert specific color ranges to masks. To do this you can define ranges of color,
desaturate those ranges to tones with the help of Hue/Saturation, and create a
wide variety of masks based on color by sampling directly from your images.

Creating a Color-Based Mask with Blend If
The trilobite in Figure 7.28 would prove to be a very tedious selection to make
manually. The general shape along with the lumps and bumps could take

FIG 7.28 This trilobite has many
ribs that protrude, making a manual
selection cumbersome. Techniques for
selection and isolation can be made
easier using Blend If techniques.

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hours to trace in contour with one of the manual tools. The mixture of light
and shadow make any kind of selection based on tone difficult or impossible.

To isolate an area based on color in this instance would be much more useful.
With a variation on the more straightforward application of Blend If, you can
sample the color in the image and then convert that area to a selection or
mask via Blend If.

Try It Now
1. Open the Sample_14.psd file.
2. Duplicate the Background layer and name it Source. You need a
duplicate because you will be changing the layer content rather than
using nondestructive methods.
3. Open Hue/Saturation to apply it directly to the Source layer
(Command U/Ctrl U). You want to make changes to the layer
instead of using an adjustment layer.
4. Choose Blues from the Edit drop-down list. You choose Blues here
because that seems to be the closest range to the area outside the
trilobite; had you been looking to change a green or magenta, you
should select that range instead.
5. Change the Saturation slider to 100 (see Figure 7.29).

FIG 7.29 This will desaturate the areas that Photoshop considers part
of the Blue range. It will not do a very good job desaturating our
target range for this image, but we can fix that.

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6. Click the Add to Sample tool on the Hue/Saturation dialog. Click
and drag in areas of the image using the sampler where there is still
blue color in the background. All areas of blue should desaturate as
you click on them (change to gray). Click OK to accept the changes
(Figure 7.30).

FIG 7.30 Clicking and dragging the Add to Sample tool through the background will desaturate the areas
you pass over because they will be sampled into the desaturation range. If you see the trilobite start
to desaturate, change to the Subtract from Sample tool and click and drag over the areas of the trilobite to
exclude them from the color selection and resaturate the trilobite.

7. Activate the Background by clicking it in the Layers palette, then
create a new layer (Command Option Shift N/Ctrl Alt Shift N)
and fill with 50 percent gray (Shift F5 will open the Fill dialog).
Name the new layer Commit 2. Duplicate Commit 2 and name it
Commit 1. See Figure 7.31 for the setup. These layers will be used to
commit a series of image changes that create the mask.

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FIG 7.31 The layers in your Layers
palette should be Source, Commit 1,
Commit 2, and Background, in order
from the top down.

8. Change the mode of the Source layer to Color and merge down.
This will isolate the color in a color separation. Everything that was
desaturated will be 50 percent gray. See Figure 7.32.
9. Change the mode of the Commit 1 layer to Difference. This will
show the difference between the saturated and desaturated parts
of Commit 1 and Commit 2. Everything that is desaturated (the
range we selected) will turn pure black. Merge down to commit the
Difference comparison (see Figure 7.33).

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FIG 7.32 You will see that the area
over the trilobite is still in color, but the
rest of the image is flat gray.

FIG 7.33 Anything in the image
that is not exactly 50 percent gray in
the layer where the mode is applied
(anything different from the layer
below) will appear as something other
than pure black when the Difference
mode is applied.

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10. Change the name of the current layer to Commit 2 if it is not that
already. The layers will look like they do in Figure 7.34.

FIG 7.34 The last few steps produce
these results and leave you with only
the Background and Commit 2 layers.

11. Shut off the Visibility toggle for the Background layer so only the
Commit 2 layer is technically visible. Double-click the Commit 2 layer
to open the Layer Style dialog.
12. Under Blend If on the dialog, click the black slider for This Layer and
slide it to the right only one level while watching the image. The
black should disappear from sight in the image. Close the Layer Style
dialog by clicking OK.
13. Activate the Background by clicking it in the Layers palette. Create
a new, blank layer. Name it Transparency Mask. Your Layers palette
14. Merge the Commit 2 layer down into the Transparency Mask layer to
commit the transparency.
15. Clean up the Transparency Mask layer. You can clear debris and noise
outside of the trilobite with a variety of tools. For example, use the
Lasso to surround large areas and then press the Delete key, or just
use the Eraser tool. Fill holes in the trilobite by just painting with a
Paintbrush—it doesn’t matter what color you use for the brush, but it
should be 100 percent solid and hard.

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FIG 7.35 You will see a clear area
around the trilobite and some noise in
the image, but the Commit 2 layer will
appear solid in the Layers palette.

16. Duplicate the Background, name the duplicate Source, and move
it above the Transparency Mask, then make a Clipping group from
those layers and turn on the Visibility toggle for the Source layer.
Your content will be restored to the original look, but without the
background. See the layer stack in Figure 7.36.

What is happening here is that you manipulate the color to desaturate the
image in areas you want to mask. Then you isolate the desaturated areas
with a layer mode calculation and then use Blend If to redefine the visible
portion of the layer. You may see how this builds on the information in the
previous chapters and rolls the techniques all together. By moving the black
This Layer slider to the right, the black areas of the layer are eliminated from
view (though not yet deleted). Once the transparency is committed by
merging, the exact range of pixels can be manually altered to account for
edge blending and other differences that are not guided by strict numeric

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FIG 7.36 You can now make changes independently to either the background or the trilobite in isolation from one another based on the mask you created.

relationships. This transparent mask is used as a Clipping layer, but could just
as easily be converted to a layer mask by loading the solid parts of the layer
as a selection (Command click/Ctrl click directly on the Transparency Mask
layer thumbnail to load the selection).

A Color Mask action is provided in the Blend If actions included on the CD.
This action will help you through the process by running through the steps for
the Hue/Saturation and Blend If techniques as discussed in this section. That
same action set also has actions that will help you automate Blend If settings
so you don’t have to go into the Layer Style dialog and adjust settings. These
preset ranges can substitute for tone-based layer masks that will target tone
ranges in layers below the layer on which they are applied:
●
Target Highlights, Full Range (set the Underlying Layer black slider to 0 and
255);
●
Target Highlights, Half Range (set the Underlying Layer black slider to 128
and 255);

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●
Target Shadows, Full Range (set the Underlying Layer white slider to 0
and 255);
●
Target Shadows, Half Range (set the Underlying Layer black slider to 0
and 128);
●
Target Midtones, Full Range (set the Underlying Layer black slider to 0
and 128 and set the Underlying Layer white slider to 128 and 255);
●
Target Midtones, Half Range (set the Underlying Layer black slider to 63
●
Exclude Midtones, Full Range (set the Underlying Layer black slider to 128
●
Exclude Midtones, Half Range (set the Underlying Layer black slider to 192
●
Reset (set Underlying Layer sliders to 0, 0/255, and 255).

These presets can serve a variety of purposes. You may be able to guess at
how these will come in handy, but we’ll continue to carry over techniques and
build on them by looking at specific examples in Chapter 9.

Summary
Blend If provides yet another opportunity to isolate objects, in this instance
by creating transparency that can be converted into masks. In this way it can
provide a means of blending layers that no other tool will provide. It also
provides alternatives to using other tools, such as the Magic Wand or color
range tools for making selections, masks, and creating object isolation based
on tone and color, and requires less guessing.

Keys to success with Blend If lie in using it in conjunction with other tools and
techniques. It won’t be the magic bullet for problems all on its own, but it will
be a masking helper, selection helper, and companion to other masking and
selection techniques. Flexibility is offered by the quick Blend If actions included
on the CD, and they will keep you from having to dig into the Layer Style dialog
every time you want to try something from the Blend If bag of tricks.

We have looked at quite a few layer-based adjustments in the past several
chapters. Some are convenient for shape, others for tone, and still others
for color, and some are for general calculations. One thing to keep in mind
as you move forward from this point is that it is rarely a single method that
does everything you need it to if you are hoping for the best outcome. Best
outcomes and quick results may require thinking creatively to use these tools
to simplify your tasks. For a given image there will be occasions on which I
use every one of the techniques and functions mentioned in these chapters,
and there are probably fewer times in which I will use one or two. Get familiar
with each of these techniques, and add them to your tool belt. Work on them
one at a time to get familiar with and master each. Set aside dedicated time
to explore how the techniques might work in a variety of situations. If you

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run into one that doesn’t seem to fit the mold, you will likely learn from the
experience. If you have questions, please feel free to visit the forums for the
book at http://www.photoshopcs.com, where you can post questions with
example images and we can discuss the results.

One more useful feature is hidden on the Advanced panel of the Layer Style
dialog, and that would be the deceptively simple-looking Red, Green, and
Blue checkboxes. We’ll look at the implications these features bring to layer-
based separations in the next chapter.

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CHAPTER 8

Breaking Out Components

I mage components are separations of an image into distinct color or tone
parts. We looked at separating an image into brightness (luminosity) and
color in Chapter 6, but there are many ways to separate images into other
types of components, including color components of light (red, green, and
blue) and ink (cyan, yellow, magenta, and black). Separating images into
components can offer advantages in making corrections, such as creating
masks, setting up calculations, and converting images to black and white.

Separations provide an essential understanding of how images are composed,
stored, and viewed. Being able to work with color components directly as
separations is nearly the exclusive reason for channels—to which Adobe has
dedicated an entire palette in Photoshop. When the Photoshop user learns to
look at channels as component parts of images in the same context as layers
(rather than as part of a separate palette), he or she gains many times the
potential flexibility. Working with channels/components in layers leads to a
better understanding of how they fit into images and how they can be used
directly in corrections rather than reaching to a separate part of the interface.

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A Historic Interlude
One of my favorite digital lessons is learned from taking a set of black-
and-white images created before there was color film and making a color
representation of the image. A special case is the photos of one Russian
photographer, Sergei Mikhailovich Prokudin-Gorskii.

You can find digitized images in several libraries online:
http://www.cs.cmu.edu/~dellaert/aligned/
http://www.loc.gov/exhibits/empire/.

Using a special camera that he designed, Prokudin-Gorskii captured images on
glass plates three at a time (it is said in rapid succession, rather than all at once).
During the capture, color filters separated red, green, and blue color components
to different areas of the plate. The result was a single plate with black-and-white
representations of the image’s core light components (see Figure 8.1).
The solution still offered only black-and-white representations of the RGB
channels, was a bit awkward, and required a customized projector to
reproduce the color. But really these first color captures mimic what digital
cameras do even today, separating and storing color in red, green, and
blue light components. About 100 years after they were taken, we can treat
Prokudin-Gorskii’s images as components of an image and put them back
together using Photoshop to re-create their full-color representations.
Working with separations provides some valuable background for what we’ve
already been doing in correcting for different components of light with Levels.
It also opens doors to additional techniques for working with color and
black-and-white images.

Creating Color from Black and White
The concept of RGB and the idea that an entire world of color can be stored in
combinations of three colors really doesn’t seem plausible until you see it at
work. That is, the 16 million color variations in 8 bits per channel and 35 billion
in 16 bits per channel are all produced from the capture of red, green, and
blue core components.
In the following short example, we’ll look at putting together a Prokudin-
Gorskii image from his original black-and-white captures.

Try It Now
1. Open the three Samples_15 images off the CD. They are named
Sample_15_red.psd, Sample_15_green.psd, and Sample_15_blue.
psd. Be sure to keep them in order, or your result will not turn out
correctly (Figure 8.2).

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FIG 8.1 A scan of an original
Prokudin-Gorskii “color” plate taken
between 1907 and 1915, 20 years
before Kodachrome … the first color
film. Stacked here from the top down
are the blue, green, and red color
components.

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FIG 8.2 The three sample images represent the red, green, and blue components.

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If you’d like an extra challenge, there is a Sample_15_RGB.psd on
the CD as well. This image has a scan of the complete glass plate. You
can work from that if you’d like, but be forewarned that there are issues
of alignment and distortion that have mostly been addressed in the
cropped version provided.

2. Activate the Sample_15_blue.psd image, then press Command A/
Ctrl A (Mac/PC) to select the entire image, then press Command C/
Ctrl C to copy. Doing this stores a copy of the image as well as the
image dimensions, which helps automate the next step.
3. Create a new image (File New), name the file Prokudin-Gorskii
Composite, as in Figure 8.3, and be sure to change the Color Mode to
RGB Color (it will initially be Grayscale). We will use this new image
to assemble a color image from the components in the other three
images.

FIG 8.3 Your New dialog should look
very much like this when opened, as
Photoshop will have automatically
defined the new image size from the
image information on your clipboard.

4. Create a new layer, call it Compositing Screen, and fill it with black
(Edit Fill and set the Use content to Black in the drop-down list). This
will act as a projection screen for the image components.
5. Press Command V/Ctrl V to paste the content of the clipboard to
the image. Name the resulting layer Blue (Figure 8.4).
6. Arrange the Prokudin-Gorskii Composite image and the Sample_15_
green.psd so you can see both on your monitor, choose the Move

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FIG 8.4 After pasting the initial
component, you will have three layers:
Background, Compositing Screen,
and Blue.

tool (press V), hold the Shift key, and click and drag the Sample_15_
green.psd image into the Prokudin-Gorskii Composite file. Release
the mouse button and then the Shift key. Name the new layer in the
Composite image Green.
7. Arrange the Prokudin-Gorskii Composite image and the Sample_15_
red.psd image so you can see both on screen, choose the Move tool
(press V), hold the Shift key, and click and drag the Sample_15_red.
psd image into the Prokudin-Gorskii Composite file. Release the
mouse button and then the Shift key. Name the new layer in the
Composite image Red. The result of all this clicking and dragging

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FIG 8.5 The resulting layers from the
top down should be Red, Green, Blue,
Compositing Screen, and Background.

8. Close the Sample_15_red.psd, Sample_15_green.psd, and Sample_
15_blue.psd images, leaving only the Prokudin-Gorskii Composite
image open.
9. Shut off the views for the Blue and Green layers so you are viewing
only the Red layer. It will still appear in black and white at this point.
10. Double-click the thumbnail for the Red layer in the Layers palette.
The Layer Style dialog will open.

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11. Uncheck the Green and Blue checkboxes for Channels under
Advanced Blending (see Figure 8.6). The image will turn red, showing
a view of how the red light component in the image looks when
isolated.
12. Shut off the Visibility toggle for the Red layer and toggle the view
for the Green layer so it is visible again. The image will appear as a
grayscale representation of the Green channel.
13. Double-click the thumbnail for the Green layer in the Layers palette
for the Prokudin-Gorskii Composite image. The Layer Style dialog will
appear.

FIG 8.6 Unchecking the checkboxes for Green and Blue makes the red layer act only on the Red channel. The result is that you see the red light component in red.

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14. Uncheck the Red and Blue checkboxes for Channels under Advanced
Blending. The image will show the green component channel in
green (see Figure 8.7).
15. Shut off the Visibility toggle for the Green layer, and toggle the view
for the Blue layer so it is visible again. The image will appear as a
grayscale representation of the Blue channel.
16. Double-click the thumbnail for the Blue layer in the Layers palette for the
Prokudin-Gorskii Composite image. The Layer Style dialog will appear.

FIG 8.7 Unchecking the checkboxes for Red and Blue makes the green layer act only on the Green channel. The result is that you see the green light
component in green.

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17. Uncheck the Red and Green checkboxes for Channels under
Advanced Blending. As you might expect, the image will show the
blue component of the image in blue (Figure 8.8).
18. Now turn on the Visibility toggles for the Green and Red layers. You
will see a full-color composite of the image, though there is no color
at all in any of the layers in the Layers palette (see Figure 8.9).

FIG 8.8 Unchecking the checkboxes for Green and Red makes the blue layer act only on the Blue channel. The result is that you see the blue light
component in blue.

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FIG 8.9 The result has some issues
as far as needing color correction,
dynamic range enhancement, and
some obvious cleanup, but the fact is
that you have just created color from
images taken about 100 years ago, 20
years before there was color film.

Use of those little checkboxes on the Advanced Blending panel of the Layer
Style dialog demonstrates several important light theory concepts. Layer
Styles target the content of the layers to make each act like a specific light
component, which projects on the dark screen. When all three of the light
components are switched on, the red, green, and blue components combine
to re-create the full-color image from the three separate black-and-white
components. This is what your monitor projects, what your camera captures,
and what Photoshop re-creates: red, green, and blue components are
assembled to make a color image. The example shows that colored light works
when stored as grayscale measurements and is a sort of demonstration of
what Prokudin-Gorskii needed to do to re-create the color he captured: project
the filtered images onto a screen. Let’s look at this same example in a different
way to mix in more light and layer theory, continuing on with the same image.

An Alternative: Creating Filtered Color
Prokudin-Gorskii couldn’t just click a checkbox to make his glass plates
perform and convert to color. He had to make a more rudimentary effort to
filter the red, green, and blue light components during projection. Using layer
modes, we can mimic filtering the components with color to reproduce color
from black and white.

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Try It Now
1. Double-click the Red layer in the Layers palette in the Prokudin-Gorskii
Composite image to open the Layer Style dialog. Check the Green and
Blue boxes, and set the Blend Mode to Screen. This mode treats layer
content like light: enhancing brightness only (Figure 8.10).

FIG 8.10 The Layers palette looks no
different, but the image at this point
will look horribly overexposed. We are
in the middle of a process that isn’t
complete, so don’t worry about how it
looks on screen at this point.

2. Double-click the Green layer in the Layers palette in the Prokudin-
Gorskii Composite image to open the Layer Style dialog. Check the
Red and Blue boxes, and set the Blend Mode to Screen.
3. Double-click the Blue layer in the Layers palette in the Prokudin-
Gorskii Composite image to open the Layer Style dialog. Check the
Red and Green boxes, and set the Blend Mode to Screen. The image
will be an overexposed mess at this point.
4. Shut off the visibility for the Red and Green layers. Click on the Blue
layer to activate it if it is not active already.
5. With the Blue layer active, create a new layer (Layer New Layer).
When the New Layer dialog appears, name the layer Color Blue,

212


and change the Mode to Multiply. This mode acts as a multiplier to
darken content below, here multiplying by solid blue, which we will
fill the layer with in the next step. Check the Group with Previous
checkbox. Then click OK.
6. Fill the Color Blue layer with pure blue (RGB: 0, 0, 255). You can do
this by changing the foreground color to blue and clicking in the
image with the Paint Bucket tool or by using the Fill function with the
proper foreground or Custom color setting. The result should look
like Figure 8.11.
7. Shut off the visibility for the Blue layer and turn on the visibility for the
Green layer. Click the Green layer in the Layers palette to activate it.

FIG 8.11 The grouped Color Blue layer
acts like a filter for blue light as if you
were to place a gelatin filter over the
Blue content, adding color back to the
component.

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The Color Blue layer can remain on. Because it is grouped with the
Blue layer, it will not be visible.

8. Create a new layer (Layer New Layer). When the New Layer dialog
appears, name the layer Color Green, change the Mode to Multiply,
and check the Group with Previous checkbox. Then click OK.
9. Fill the Color Green layer with pure green (RGB: 0, 255, 0) (see Figure 8.12).
10. Shut off the visibility for the Green layer and turn on the visibility for
the Red layer. Click the Red layer in the Layers palette to activate it.

FIG 8.12 The addition of the Color
Green layer will cover the green
component content with green color,
again as if you had applied a gelatin
filter.

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11. Create a new layer (Layer New Layer). When the New Layer dialog
appears, name the layer Color Red, change the Mode to Multiply, and
check the Group with Previous checkbox. Then click OK.
12. Fill the Color Red layer with pure red (RGB: 255, 0, 0). Your layers
13. Turn on the visibility for the Green and Blue layers. The image will
appear in full color again, exactly as before.

FIG 8.13 Completing the roundup
of color additions with the Color Red
layer, you are one step away from
obtaining full color via filtered layers.
When the visibility for all layers is
turned on, you’ll once again have
full color.

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In this scenario, the Color layers act like gel filters, adding color to the
grayscale representations using the Multiply layer mode. Each of the
components themselves is then projected like light on the Composite layer by
being set to Screen mode.

This procedure works every time you have grayscale representations of your
image … but it isn’t likely that you’ll soon be out making a custom camera
that will shoot separations on a glass plate. Inside every color image there is
light, and because there is light, there are light components: red, green, and
blue. Filtering works to put the color into your image, but a lesson learned
from Prokudin-Gorskii is that light components can also be filtered out and
separated from color images.

An interesting option at this point is to work at the Prokudin-
Gorskii image and make corrections. You can make a Levels correction
for starters and clean up a plethora of spots and dust. You might try
sharpening, color balance, contrast enhancements, and any other
technique we’ve looked at thus far. Doing so can help reinforce those
techniques and their application.

Separating a Color Image into RGB Components
Just as Prokudin-Gorskii filtered the light in his scenes for red, green, and blue
to make his black-and-white “color” plates, you can reverse the process of
adding color and create separations in layers. You might say, “Oh, we already
have channels for that.” But a huge drawback to channels is that they are in a
separate palette and you can’t work with them nearly as fluidly as you could if
you could work them like layers. Let’s take a look at the process and then see
some of what you can do with separated components.

Try It Now

1. Flatten the Prokudin-Gorskii Composite image (Image Flatten
Image). This will commit the changes and merge the image into a
Background layer.
2. Create a new layer, name it Red Filter, and change the Mode to
Multiply.
3. Fill the Red Filter layer with pure red (RGB: 255, 0, 0). This will turn the
image red and will represent the red light component.
4. Create a Hue/Saturation Adjustment layer (above the Red Filter layer
in the Layers palette). Choose Reds from the Edit drop-down list and
push the Lightness slider all the way to the right. You will be left with
a grayscale representation of the red light component. Your layers
5. Press Command Option Shift E/Ctrl Alt Shift E to copy the
visible image to a new layer. Name the new layer Red.

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FIG 8.14 Extracting red as the first color component gives you a model for separating the green and blue components as well.

6. Delete the Hue/Saturation layer. Shut off the view for the Red and Red
Filter layers.
7. Create a new layer above the Background layer. Name it Green Filter,
and change the Mode to Multiply.
8. Fill the Green Filter layer with pure green (RGB: 0, 255, 0). This will turn
the image green and will represent the green light component.
9. Create a Hue/Saturation Adjustment layer. Choose Greens from the
Edit drop-down list and push the Lightness slider all the way to the
right. You will be left with a grayscale representation of the green light
component.
visible image to a new layer. Name the new layer Green (see Figure 8.15).
11. Delete the Hue/Saturation layer. Shut off the visibility for the Green
and Green Filter layers.
12. Create a new layer above the Background layer. Name it Blue Filter.
Change the Mode to Multiply.
13. Fill the Blue Filter layer with pure blue (RGB: 0, 0, 255). This will turn the
image blue and will represent the blue light component.

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FIG 8.15 After extracting the green
component, the layer stack looks
like this.

14. Create a new Hue/Saturation Adjustment layer. Choose Blues from the
Edit drop-down list and push the Lightness slider all the way to the
right. You will be left with a grayscale representation of the blue light
component.
visible image to a new layer. Name the new layer Blue (see Figure 8.16).
16. Delete the Hue/Saturation layer.

After these steps you should have a Red, a Green, and a Blue layer in your
image, all representing grayscale components extracted from the image you
were working on. Your next chore is to add the color back to the components
to create a color representation while keeping the grayscale components
separate. A big hint: look to the earlier part of this chapter in which you added
color to the Prokudin-Gorskii image to see how to add color back to grayscale
separations. Use the Filter layers as the Color layers (I didn’t ask you to delete
them so you wouldn’t have to re-create them).

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Another way to make the separations would be to use the Channel Targeting
in the Advanced Blending panel.

FIG 8.16 The Blue layer gets created
with steps almost identical to those
for the other components, simply by
applying a different color filter.

Try It Now
1. Duplicate the Background to a new image. To do this, click the
Background layer to activate it, and then choose Layer Duplicate
Layer. When the Duplicate Layer dialog appears, choose New for the
Destination, and name your new image Prokudin-Gorskii New (see
Figure 8.17).
2. Double-click the Background layer in the new image, and when the
New Layer dialog appears, rename the layer Source.
3. Double-click the Source layer and when the Layer Style dialog
appears, uncheck the Green and Blue channels.

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FIG 8.17 Settings for the Duplicate
Layer dialog should appear as in this
sample.

4. Create a Hue/Saturation Adjustment layer. Choose Reds from the Edit
drop-down list and push the Lightness slider all the way to the right.
visible image to a new layer. Name the new layer Red.

This will isolate the Red channel. I’ll let you figure out the rest for the Green
and Blue. If you don’t think it through, and just follow what I feed you it will be
harder to retain or understand. What either of these methods accomplishes
is getting your image components on separate layers. Here we have taken
apart and put back together your color images—in a fashion nearly identical
to the way your images are separated into components and stored and then
reproduced as color from the grayscale channels.

You may think it is a lot of bother to go through to separate out components.
That is why I have included some tools on the CD to do it for you. If you load
the Separations action set, in it you will find the following tools:
●
Complete RGB Separation (duplicates the current image and makes a
complete RGB separation following yet another path to separations);
●
Blue Component (duplicates the current image and separates out a
standalone Blue Component layer);
●
Green Component (duplicates the current image and separates out a
standalone Green Component layer);
●
Red Component (duplicates the current image and separates out a
standalone Red Component layer);
●
Luminosity and Color (duplicates the current image and separates out
Color and Luminosity layers);
●
Complete CMYK Separation (duplicates the current image and makes a
complete CMYK separation allowing custom UCR/GCR for black generation);
●
RGBL Components (duplicates the current image and separates out Red,
Green, Blue, and Luminosity layers);
●
Richard’s Custom Black-and-White (duplicates the current image and
creates a black-and-white result that works well with many images);

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●
Simple Channel Mixer (duplicates the current image and sets up a layer-
based channel mixing scenario);
●
Target Red (targets the current layer to the Red channel, unchecks boxes in
the Advanced Blending for Green and Blue);
●
Target Green (targets the current layer to the Green channel, unchecks
boxes in the Advanced Blending for Red and Blue);
●
Target Blue (targets the current layer to the Blue channel, unchecks boxes
in the Advanced Blending for Red and Green);
●
Target RGB (resets all Advanced Blending channel checkboxes to
checked).

We’ll be looking at the RGBL Components and Richard’s Custom
Black-and-White actions in the following section. Load the actions now
so you are ready to go in the next exercise!

Breaking out color components into layers is a very advanced move, and may
be something you won’t do very often, but it should give you several things,
including a good idea of the peripheral power of layers and a good concept of
how image information is captured and stored. But what can you do with your
knowledge of separations? Follow along into the next section, in which we
look at using your separations.

Using Separations
Grayscale channels can be used for a variety of highly specialized purposes.
First, you can target changes directly to any one of the RGB components using
Adjustment layers in Clipping groups with specific layer color components
(red, green, or blue; not the Filter layers). Components can be used for
masking, selection, and a plethora of alterations, with a freedom in layers that
is not accessible to you with channels and channel functions.

Probably one of the most useful and practical applications of separated
components is making custom black-and-white conversions. Many people
will suggest turning to Channel Mixer, the Black & White function, or perhaps
Calculations. The thing each of these functions has in common is that they
use separated components to create the image results. However, because
these features are predefined, there are inherent limitations to the ways they
can be combined. You can’t, for example, use any of these functions to create
a calculation with three components of your choosing in different modes
simultaneously. Layer-based calculations and channel mixing allow you
complete freedom to use the power of layers however you’d like. Let’s test it
out now.

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Try It Now
1. Open the Sample_16.psd image on the CD (see Figure 8.18).

FIG 8.18 A colorful combination
leaves some interesting and
stark differences between image
components after this separation.

2. Run the RGBL Components action in the Separations action set. This
action will run through a series of steps similar to those we have been
following and will create red, green, blue, and luminosity components
for the image in separate layers (Figure 8.19).
3. Shut off the view for the Luminosity, Red Component, and Blue
Component layers in the Layers palette. This leaves the view for the
Green Component layer. The flower petals are dark, but they can easily be
lightened using the Red Component layer, as we will do in the next step.
4. Move the Red Component layer above the Green Component layer in
the layer stack. If you view the Red Component layer by itself (turn off
the Visibility toggle for the Green Component layer, turn the Visibility
toggle for the Red Component layer on), you will see that it is light
in the petal areas but dark in the surrounding greenery. Turn on the
Visibility toggle for the Green Component layer, change the mode
of the Red Component layer to Lighten, and lower the opacity to 60
percent. This will lighten the flower petal area without a significant
impact on the area surrounding the flower, which is much lighter in the
Green Component layer.

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FIG 8.19 The range of looks in this separation shows a marked difference that will need to be changed to make a good black-and-white conversion. Here
we have red, green, luminosity, and blue components.

223


5. To add back some of the unique dynamics of the Blue Component
and enhance the contrast of the result, turn on the Visibility toggle
for the Blue Component layer, change the Mode of the Blue
Component layer to Overlay, and reduce the opacity to 16 percent.
6. Duplicate the Green Component layer, name the resulting layer
Green Component Screen, change the opacity to 70 percent, and be
sure the Mode is Screen. This will lighten the area around the petals
to create greater contrast.
7. Turn on the Luminosity layer, and change the opacity to 33 percent.
This will moderate some of the extremes that may have been caused
by other calculations (see the result in Figure 8.20).

Steps 6 and 7 add some calculations that experience has shown will render a
better general conversion for almost any image from RGB to grayscale. You can
repeat this whole series of steps by using Richard’s Custom Black-and-White
action from the Separations action set.

You may want to play around with the opacity and modes of the component
layers both to explore what is going on and to see if you can come to a “better”
result. This particular adjustment is one developed after fooling with various
possibilities and considering light and color theory. As a conversion, it works
fairly consistently over a wide variety of images to produce a pretty good
black-and-white image. Give it a try on any color RGB image. Though I often
start with this as a base, it is only one of the infinite possibilities for combining
tone. You can fine-tune or completely change the result using layer opacity,
additional component layers, and different layer-blending modes.

The previous example was a result derived from experimentation with the
Green Component layer as a starting point. I chose to start with the Green
Component layer because it is similar to how we perceive brightness. If you
start with a component other than the Green Component layer, your goals
and results for changing the image and the calculations you make may
be very different from those we used above. For example, if you make the
separations and start with the Red Component layer, you could go in an
entirely different direction and attempt to make the petals lighter than the
background. Let’s try it out.

Try It Now
1. Open the Sample_16.psd image on the CD.
2. Run the RGBL Components action.
3. Shut off the view for the Luminosity, Green Component, and Blue
Component layers. This leaves the view for the Red Component layer.
The flower petals are dark but brighter and more contrasty than the

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FIG 8.20 This combination of layers, components, and modes cannot be achieved with Photoshop’s native functions, and yet it generally renders a
favorable black-and-white result with any image. You need the power of Layers to achieve this.

225


background. The background can be darkened, the petals lightened,
and the contrast enhanced using the following steps.
4. Activate the Green Component layer, and toggle the view on. Invert
the layer content (Command I/Ctrl I), change the Mode to Overlay,
and reduce the opacity to 24 percent. Inverting the layer changes
the content to a negative of the original, in this case making the
petals light and the background dark in the Green Component
layer. Applying the layer in Overlay should use the inverted content
to darken the background and lighten the petals. The great part
about this type of masking is that it is prefit to the image as it comes
directly from the source.
5. Activate the Blue Component layer, and toggle the view on. Apply
a Gaussian Blur of 10 pixels, change the Mode to Soft Light, and
change the opacity to 60 percent. This will serve to smooth out the
roughness of the Blue Component and allow it to be applied to
enhance the contrast and soften the image, both at the same time
(see the result in Figure 8.21).

This calculation will actually not be likely to produce a good black-and-white
conversion on many images, even though it produces interesting results here.
The point is that depending on where you start, how you see an image, and
how you use the content to make calculations, you can come to very different
ends. If you are up to it, try an experiment: start with the Blue Component
layer, and see where that leads. See if you can envision the result you want to
get and attain it using what you know about layers. It takes vision and practice
to be able to use the components creatively and effectively. Practicing your
visual evaluations will benefit you even if the conversions to black and white
are not entirely successful.

Summary
Separations are the core of another powerful element of Photoshop:
Channels. Channels are a powerful tool in their own right; however, when
layers are used correctly to their capability, they can make Channels and
channel functions virtually unnecessary and superfluous. Using separated
components as described in this chapter gives you tremendous flexibility with
the application of components in a more straightforward model than using
Channels or channel functions. Layering components can help you break
away not only from the limitations of Channels, but also of other tools such as
Channel Mixer and Calculations.

There is a lot to explore in standard separations of RGB, CMYK, luminosity, and
color and perhaps even more to explore with custom separations. That doesn’t
mean merely that you have an opportunity to explore separations of CMYK

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FIG 8.21 Using the same components as from the original procedure with different mode and opacity settings creates a much different result. You are not
obligated to use all the layers generated by the Separation action set.

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in which you fiddle with the GCR settings, but that you can create completely
custom separations for unique colors. Clever use of custom separations may
help you define selections and masks or create unique black-and-white
results. Creating black-and-white images via separations and calculations is
not necessarily an endpoint. Black-and-white images offer opportunity for
hand-colored effects and redefining the color that makes the image.

At this point we have looked at most of the more powerful layer functions
and a variety of brief exercises that allowed us to apply the tools to achieve
specific goals. We’ve taken a tour of the process of image editing and defined
an outline for an editing approach. As we turn the corner into the final two
chapters, we will refocus to combine process with a variety of techniques by
taking images through corrective steps from beginning to end with layers as
our guide to the result.
For more helpful actions for image adjustments in Photoshop, conversions to
black and white, and separations and for questions about the techniques and
procedures, visit the web site for this book at http://www.photoshopcs.com.
I am hoping reader interest and questions on the forum will lead to creating
new actions for reader use, which I’ll make available, and that discussion
will open doors to broader understanding of working with separations for
masking, selection, and conversion.

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CHAPTER 9

Taking an Image through
the Process

T hroughout this book we’ve looked at multiple facets of image correction
and adjustment using layer functionality. As we were still busy exploring
Layers, there has not been an opportunity to put everything together.
The goal of this chapter is to bring together layer techniques that we have
learned, to see how the procedures apply to real-world images and real-world
editing situations. Seeing the whole process in action should help you to use
the concepts and techniques to correct your own images. Using a sample
image supplied on the CD, we will step through the process of correction and
adjustment from start to finish to show how the process works in practice.

The base process used for the image will follow procedures suggested earlier
in this book, and it may go a step farther than you would expect to embellish
the image. You don’t have to agree with or even like the embellishments, but
you should understand the procedures and how they fit into the process of
getting to the image result. We will take a critical look at the photo before
stepping through the procedures so that we can outline the goals for the

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image. This chapter is meant to reflect the way you will approach any image
as you continue working with layers in your image editing work flow and the
concepts from this book.

The Image
The image in Figure 9.1 was taken by a long-time friend, Luke Delalio, who does
a lot of head-shot photography in New York City (lukedelalio.com). He gets
outstanding shots of his clients, with a handheld camera, no flash, in natural
light—revealing more personality than the standard studio head shots. The
image is available on the CD as Sample_17.psd.

FIG 9.1 We’ll use this image from
the CD to run through the correction
process.

Luke had other usable shots from this session of his stunning model Carly,
but he had passed this one on to me to see if I could do something with it.
I could see what he liked in the image: in addition to the pretty model, there
was some interesting lighting, an insolating depth of field, and a flattering
pose. Although it is an interesting image, like any image there are quite a few
ways that it can be improved. Shot at a wide aperture at 1/30 of a second, it
is almost extraordinary that it is as sharp as it is. Whereas this might never be
manipulated to be a terrifically sharp image, it might be a terrific image with a
softer quality.

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Taking an Image through the Process

EXIF Metadata
The key to working with digital images day to day is usually not to
envision them being something they are not already, but working with I didn’t take the shot, but I
was able to find out some
what you have to enhance what is there. Enhancement in the form of
things about it without
heroic measures and wild antics is a secondary concern.
asking the photographer.
All I did was look into the
EXIF data that came with
the image. As long as you
Let’s review our image-processing checklist (from Chapter 2) before getting are using a modern digital
together a specific outline of changes to perform. camera, the camera
captures EXIF data
(exchangeable image file),
General Image Editing Steps: A Review storing information about
the exposures you make
Way back at the beginning of this book we looked at an overview of the at the time of capture.
whole image editing process. By this point in the book, we are concerned You can access and use
more specifically with images than with setup issues. The following list of these data to refer to
steps is extracted, and somewhat modified, from the list of steps suggested exposure information.
in Chapter 2 to target the process. We’ll follow this editing checklist in To find the EXIF data
processing the Sample_17.psd image. for your images, open
Photoshop, and choose
1. Be sure that your computer system is ready for image editing. Your system File Info from the File
should be up to speed, your monitor calibrated; you have set up your menu (File File Info). The
preferences and tested your output. following data were listed
2. Store the original image file safely and work with a copy to do all of your for the sample image
image editing. under the Camera Data 1
3. Have in mind a target range for the resolution and a color mode for the category.
final image. Camera make/model:
4. Evaluate the image. Canon EOS 20D
5. Make general color and tonal corrections. Date and time: 11/28/06,
6. Make damage, dust, and other spot corrections. 3:28 PM
7. Make compositional changes, including cropping, compositing, and Shutter speed: 1/30
replacing image parts. second
8. Make targeted color and tonal corrections to selected parts of the image. Aperture: 2.8
9. Save the layered version of the image. You may want to do some ISO: 800
simplifying and optimization at this point. This information can track
what you did to capture
Note specifically that this list condenses the setup and computer-oriented the image, give hints
issues, as well as the concerns for saving. We will assume at this point that as to the quality of the
you have taken the initiative to calibrate your monitor, build the ICC profile capture, and provide an
you need for properly viewing your images on screen, and set up your color opportunity for learning.
management (checklist step 1). The concerns for image storage (checklist Because this image was
step 2) are taken care of by providing the file on the CD. The image on the CD taken with a slow shutter,
cannot be overwritten, so it is safely archived. We will be processing the image a wide aperture, and a
using the full size of the provided sample (downsized from the original), high ISO, it would almost
necessarily have a soft
which is 9.2 7 inches at 200 ppi (checklist step 3). Now we are ready to
quality to it.
evaluate the image (checklist step 4).

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Applying the Image Editing Checklist
Working through the process of editing will always really start with evaluating
the image. No matter what you see in an image preview or in Bridge or other
viewers, there is no substitute for actually opening the image in Photoshop.
So open Sample_17.psd and have a good look at the image.

Working with RAW Images
Whereas this image is already converted from RAW and does not require
dealing with Camera RAW conversions, it is worth mentioning what to do with
RAW images and why you might want to consider RAW processing if it is an
option.
RAW images are images in their natural capture state —direct off the camera’s
sensor without any automated in-camera processing. JPEG files, on the other
hand, which are often the default means of storage for images on camera, are
images that have been processed in-camera, converted from the RAW state
into a more globally recognized image file format. One advantage of working
with RAW images is that you get to control the image conversion from raw
data rather than allowing the camera to use some generic processing that
works optimally only in run-of-the-mill situations. When it comes to images
that are exposure extremes (over- and underexposure), in-camera processing
is not an advantage. Another advantage is that RAW images are high-bit
images, taking advantage of the native capacity of a sensor to register many
times the information allowed in the JPEG file format. JPEG files are limited to
8 bits (a mere 16.7 million colors per pixel); RAW images can be up to 16 bits
per channel (35.2 trillion colors). RAW images offer both more control in the
conversion from the RAW information and a higher bit count than a standard
JPEG, which is especially beneficial in processing exposure extremes.
If you shoot in RAW format as a deliberate choice, you add a step to your
processing, but you also add some extraordinary leeway with shots that are not
exposed optimally because of the higher bit count. When opening RAW images,
you are led to the intermediate Adobe Camera RAW dialog automatically,
where you can make a conversion for the image. There are a lot of controls, and
with that goes many opportunities for positive change—as well as negative
change. Some users see this as an opportunity, and some as an obligation.
My suggestion is not to feel too tempted to make changes in the RAW dialog
unless you are positive you can make an advantageous change. If the image is
a normal exposure and doesn’t have a decided skew or you are not compelled
to attempt to rescue highlights or shadows, accept the defaults and go to work
in Photoshop, in which you have the full range of tools and Layers to lean on.
Just be sure to import 16-bit images. Keep in mind that you do not have to do
a thing when you pass through the RAW dialog and are best off considering
making changes only when you know the image has exposure issues.
When you decide to make changes and corrections in the RAW dialog,
consider the histogram display and use it to help keep you from creating bad
adjustments. Although you may trust your screen to a great extent, the graph

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helps you see if you are making corrections that are too extreme and actually
doing some damage to your image by losing image information. If you see
the graph bunching up and spiking at the right or left in the graph display in
the RAW dialog histogram, chances are the image is taking a hit and you are
ruining image details, perhaps unwittingly. Likewise, if the graph is pulling
away from the right or left or forming distinct tails, you may not be making the
most of the information you captured. Use these histogram dynamics to help
you make intelligent imaging choices.
At the other extreme, don’t simply adopt a hands-off attitude when it come to
RAW conversions. Automated adjustments selected by Photoshop’s Camera RAW
dialog don’t always make the best choices—they can’t see the image. So don’t
just trust the RAW plug-in to make the choice for you, especially if the preview
on screen seems wanting. Play with the possibilities and be careful not to blow
out details by being conscious of the histograms provided on the preview. When
in doubt, leave the image a little under- or overexposed to save detail so that
you can work with it later rather than trying to optimize it all at once in the RAW
dialog. You can still fiddle with making changes later. There are actually better
tools in Photoshop to use when making corrections. Think of the dialog as a
helper rather than an all-in-one correction tool—just like anything else.

To examine the image, you might want to do a few simple things, like zoom
in to take a look at details (sharpness, graininess, noise) or even take a look at
the RGB channels. You also want to consider the purpose of the correction.
Head shots used for advertising (cosmetics, etc.) might be distorted to achieve
a look, but head shots used for actors will need to be a reliable semblance of
the subject. Sometimes you will find some interesting qualities or the views
may suggest specific changes or alterations. For example, you may have a noisy
blue channel that suggests a little blurring of the blue might help overall, or
there might be tonal qualities you’d like to borrow. Although you can certainly
examine the channels by opening the Channels palette and reviewing the
channels, doing it the layers way by running the RGBL Components action from
the Separations action set (from Chapter 8) may tell you a few things about the
image. After running the action, view the channels by toggling the visibility off
for the layers from the top of the Layers palette down (see Figure 9.2).

Something about the contrast in the blue channel seems interesting, so later
in the corrections we’ll look at using the Blue channel to enhance the contrast
(checklist step 8). Of course we’ll want to do an initial Levels correction
(checklist step 5). The initial color is fine, but might be a tinge warm, and it
could use some color balance adjustment (checklist step 5). Contrast is good,
but might even be stronger, playing on the quality of the light in the image.
Consider ideas for cropping (checklist step 7). Do you want to get in tighter
to the subject? Are there areas around the subject that might be better if
removed? What will the image be used for? In this case we have a head shot. It
seems the cropping can come in a bit to make the model’s head the obvious
focus. We’ve already mentioned that the image is a bit soft, so we’ll work with

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FIG 9.2 The RGBL separations show you the tone components that make up your image. Here we see the blue, green, red, and luminosity components
taken from the original source.

234


that by playing up the quality of softness to make it more like a soft-focus
glamour shot (checklist step 8).
Getting more specific, the midtone to shadow areas may be slightly
oversaturated (checklist step 8). The model has virtually no obvious flaws
(birthmarks, scars, wrinkles); however, underlighting seems to be enhancing a
ridge along the upper lip, which can easily be smoothed (checklist step 6). The
lighting differs in color between the chest and the face, and that will become
more pronounced as the correction progresses. One or the other may need
some selective adjustment (checklist step 8). As the face is the focus of the
shot, it may help to outline the chin. Muscle structure in the neck and cleavage
can be enhanced as well to give the subject more depth (checklist step 8). The
eyes and teeth are already white, and a Levels correction and color balance will
make them whiter still, but you’ll need to use care in correction not to blow
out detail to make them look fake. We’ll look at selective adjustment to these
areas to be sure they are optimized and color balanced (checklist step 8).

The final list of corrections per this evaluation is the following, attempting to
work from most general to most specific:
●
Levels correction
●
Color Balance
●
crop
●
enhance contrast
●
add soft-focus effect(s)
●
be mindful of saturation, and adjust
●
enhance jawline and muscle structure
●
selective balance of lighting between face and chest
●
smooth upper lip
●
hold detail and color in eyes and teeth

This may seem like quite a lot to do in an image that is already good, and with all
those changes we will want to keep the model recognizable. Running through
the steps using techniques we have already learned or that have been hinted
at will make short work of the list—even if we do end up with a lot of layers. Be
aware that as you go you may create additional issues that will require some
attention, and at points the image may actually begin to look worse before it
begins to get better. These are all concepts and techniques we have touched on
throughout the book and in other corrections. Now let’s put them into play.

Try It Now
1. Open the Sample_17.psd image in Photoshop if it is not already,
and make a Levels correction to the image for each channel in the
Channels drop-down list using a Levels Adjustment layer. Name the
layer 1 General Levels. See Chapter 3 for a review of Levels correction.
See Figure 9.3 for the Levels settings used for the sample.

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FIG 9.3 For this image there are tails to clip in highlights for each
of the channels: Red, Green, and Blue. Although there are different
possible strategies, clip the whole tail as shown.

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2. Adjust Color Balance using a Color Balance Adjustment layer. Name
the layer 2 Color Balance. See Chapter 3 for a review of making Color
Balance corrections. See Figure 9.4 for the Color Balance settings used.

FIG 9.4 There are several different light sources to
correct for here; you have to achieve the best balance.
Depending on how you start the correction and the
settings you begin with, your Color Balance settings
may be very different, but the result should be
similar—balancing the color.

3. With the general color and tone corrections complete it is fairly safe
to crop the image. Use the Crop tool to trim down the image and
change the composition (see Figure 9.5).

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FIG 9.5 You could wait until later in the process to crop, as changes in the image may influence your decisions. I set the crop to 5 7, to reflect the same
crop as the original size, and cropped with the head a little to the side so the shot was not too centered, in a bastardized version of the rule of thirds.

The first corrections have roughened the skin and brightened it a lot. We’ll
want to darken it up a bit and smooth it out over the next series of steps. We
need to work at it somewhat gradually to avoid creating additional issues. To
do this we can borrow from the original to get back some of the color and skin
tone there and then work with some techniques of masking and blending to
enhance what exists in the image.

4. To borrow back from the original skin tone from the image, we need
to make a selection and copy out the old skin tone. To do this, open
the Channels palette, hold down the Command/Ctrl key (Mac/PC)
on your keyboard, and click the Red channel to load it as a selection,
which makes a good rough selection of the skin. Click on the
Background layer in the Layers palette to activate the Background,
then Copy and Paste to create a new layer. Name the layer 3 Red
Channel Selection. Press Command Shift ]/Ctrl Shift ] to move
the layer to the top of the layer stack. Blur 15 pixels, change the
mode to Multiply, and reduce the opacity to 50 percent (see Figure 9.6).

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FIG 9.6 The Red channel will
correspond to highlights and skin in
this image. Copying the background
will allow you to replace original skin
color based on that selection.

5. Duplicate layer 3 Red Channel Selection, and name the new layer 4
Dupe 3 Overlay 50%. This will begin to add back contrast and soften
and smooth the skin simultaneously, but saturates too much in the
shadows—which we’ll work on in the saturation reduction in the
next step.
6. Create a new layer, call it 5 Desaturate Shadows and fill with 50
percent gray. Using the Blend If actions you loaded from the book,
play Target Shadows, Full Range. This will set the Blend If sliders
to blend only to the shadows. Set the layer mode to Color and the
opacity to 70 percent. This will help desaturate the darker parts of the
image (see Figure 9.7).
7. The Blue channel is often strongly contoured and can be good for
softening without losing too much natural shape. To isolate the
Blue channel to work with it over the next few steps, we’ll need
to start with a snapshot, as what you see on screen after layer 5
is created does not exist in the image proper. Create a Composite
layer, and name it 6 Snapshot. To make the composite, press
Command Option Shift E/Ctrl Alt Shift E.

As we work through here the goal will be to balance a little sharpening
with a little softening so that we retain the detail and sharpness while
creating the softening effect.

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FIG 9.7 Step 6 cuts the saturation that has built up in the previous corrections significantly.

8. With the 6 Snapshot layer active, click the Blue channel in the Channels
palette, select all (Command A/Ctrl A), copy (Command C/Ctrl C),
create a new layer (Shift Command N/Shift Ctrl N), name the
layer 7 Blue Component, and paste (Command V/Ctrl V). This will
take you through making a new layer that isolates the Blue channel.
There are, of course, several other ways to accomplish that. Shut off the
view for the 6 Snapshot and 7 Blue Component layers as you want to
keep track of what you did, but will not be using these directly.
9. Duplicate the 7 Blue Component layer and name it 8 Blue Blurred 25.
Blur the layer 25 pixels using Gaussian Blur. Set it to Luminosity mode
and 15 percent opacity. The Gaussian Blur will take some of the edge
off the channel, and Luminosity mode will impart some of its tone
without affecting the current color.
10. Duplicate the 8 Blue Blurred 25 layer and name it 9 Dupe 8. Set the
mode to Overlay and the opacity to 30 percent. Overlay will enhance
the contrast according to the content, darkening the darks and
lightening the lights. Because the content was previously blurred, it
will also add another hint of softening (see Figure 9.8).

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FIG 9.8 Steps 7 to 10 introduce some softening and contrast
enhancement.

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Before the image gets too soft, let’s do some sharpening. First apply manual
sharpening as per the technique described earlier in the book (which will
reduce some contrast, but have other benefits, as you will see). Then apply
some selective sharpening to be sure we are not losing focus on the subject.
In between we’ll restore some of the original hair color because it has faded.

11. Make a snapshot layer by pressing Command Option Shift E/
Ctrl Alt Shift E. This will create a new layer above the 9 Dupe 8
layer. Rename it 10 Color Lock and set it to Color mode.
12. Click on the 9 Dupe 8 layer to activate it and press
Command Option Shift E/Ctrl Alt Shift E again to create
another snapshot. Change the layer name to 11 Manual Unsharp.
Invert the image (press Command I/Ctrl I), set the mode to
Overlay, and set the opacity to 50 percent. You will see that this
correction brings her hair out from the shadows.
13. Duplicate the Original layer and bring the new layer to the top of the
stack. Change the layer mode to Color. Add a layer mask by clicking
the Add Layer Mask button at the bottom of the Layers palette,
and then, using black (press D, for default colors) and a large, soft
Paintbrush, paint over the subject’s face in the mask to mute the
color from the layer over the subject’s face.
14. Keeping tabs on the image sharpness we should snap up her eyes
and mouth a little. Create another Composite layer (Command
Option Shift E/Ctrl Alt Shift E) and name it 13 Sharpen (or
Selective Sharpen). Apply sharpening with Unsharp Mask at 140
percent, with a Radius of 4 and Threshold of 0, then change the
opacity to 50 percent. Add a layer mask and fill the mask with black,
and then paint with white over the eyes and mouth to unmask those
areas and bring back the sharpening detail there. Figure 9.9 shows the
current layers and before/after results.

At this point the layer stack is starting to get a bit long and wild. We can trim it
up neatly by adding a few layer groups.

15. Click the Original layer at the bottom of the layer stack and then click
the Create a New Group button at the bottom of the Layers palette.
Rename the group General Color Corrections and drag layers 1 and 2
into the group. Then close the toggle for the group to hide the layers.
16. Click the General Color Corrections group and then click the
Create a New Group button. Name the new group General Toning
and Smoothing. Click layer 3, hold Shift, and click layer 13 to
highlight all of those layers, then drag them into the General Toning
and Smoothing group. Click the toggle to close the group. This will

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FIG 9.9 Just a touch of sharpening over the whole of the image goes
a long way. The eyes are sharp, yet the skin stays smooth.

243


neaten the layers significantly and should provide some guidance for
finding specific changes. But let’s add the next group as well in the
next step.
17. Click the General Tone and Smoothing group and then click the
Create a New Group button. Name the new group Chest Adjustments.
Leave this group toggled open so we can add layers and see what we
are doing. Your layers should now look like Figure 9.10.

FIG 9.10 The roving layer stack of
a few moments ago is now pretty
tame. Working forward we’ll use the
layer groups to target activities and
corrections.

To this point we have done little that requires much freehand tool
skill. Many corrections have been based on knowledge from previous
chapters, modes, opacity, blending, and the advantages offered by light
components for quick selection, masking, and calculations. We have also
taken care of much of the preliminary part of the hit list, including Levels
correction, Color Balance, cropping, contrast enhancement, adding
soft-focus effect(s), and being mindful of saturation as it wavered. From
here to the end of these corrections, many more of these changes will
require some dexterity and individual choice in making more selective
corrections.

18. Isolate the chest area for adjustment to match better with the
tone of the face. To do this, create a new blank layer, name it 14
Mask Chest, and make a composite (Command Option Shift E/
Ctrl Alt Shift E). Make a rough selection around the area to be

244


adjusted, then click the Add Layer Mask button. This will create a
mask with the selected area. Blur 30 pixels to soften the mask, then
run the Target Highlights, Full Range action. This will apply the
Blend If targeting to the highlights within the masked area only,
compounding the masking.
19. Apply a color adjustment to the 14 Mask Chest layer. To do this,
choose Layer New Adjustment Layer Hue/Saturation, and check
the Use Previous Layer to Create Clipping Mask checkbox on the
New Layer dialog. Adjust the sliders to better match the area to other
skin tone in the image. Name the layer 15 Color Adjust 14. See the
Adjustments settings used in Figure 9.11.

FIG 9.11 There are many other ways
to make this adjustment. Hue/
Saturation changes shown here reduce
saturation, shift the color, and slightly
darken the result.

20. Retrieve the necklace from the Original image to restore it. To do
this, duplicate the Background layer, name the duplicate 16 Retrieve
Necklace from Original, and move the layer to the top of the layer
stack within the Chest Adjustments group. Click the Add Layer Mask
button, and fill the mask with black. Using small hard brushes

245


(95 percent hard, 25 pixels round for the pendant and about 10 pixels
for the chain), change the foreground swatch color to white and
paint on the mask to reveal the necklace. Change the layer mode to
Luminosity and reduce the opacity as desired. Painting effectively
unmasks the old layer’s luminosity, darkening the necklace, which
had faded owing to the earlier steps. Your layers should look like
Figure 9.12.

FIG 9.12 These changes shift the color
and tone of the chest to match the
face better.

21. Create a new group called Neck and Jawline. Then close the view for
the Chest Adjustments group.
22. Burn in the jawline. To do this, create a new layer, and name it 17
Burn in Jawline. Choose the Lasso tool and draw a selection around
the jawline, then invert the selection so the active area is off the
face—targeted to the area outside the original selection. In this case
we are most interested in the neck, so the final selection will be of
the area below the jawline (see Figure 9.13).
23. Choose the Brush tool and a large, soft brush (200 pixels, 25 percent
spacing, 100 percent opacity, Normal mode, all Fade and other brush
dynamics off ), then sample a color from a shadow area of the neck.
To sample the color, press Option/Alt and click on the image. Paint in
under the jawline by dragging the brush along the selection line (see
Figure 9.14).

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FIG 9.13 Make the selection broad to cover most of the face so that changes FIG 9.14 The selection will mask the painting so it falls just under the jaw.
painted in have no chance of bleeding over the wrong side of the selection. The painting under the jawline should be dark, flat, and obvious, but we
You could actually select the whole face if you wanted just to be safe. will adjust it.

24. Deselect the selection (press Command D/Ctrl D), then change
the layer mode to Multiply, and drop the opacity to 35 percent or so
(you may have a different preference). Apply a Gaussian Blur of 10
pixels. Toggle the view for layer 17 to see before and after; the area
under the jawline should darken.
25. Create a new layer and name it 18 Burn in Brightspot. Choose a soft, 30-
pixel brush and paint in over the bright areas on the viewer’s right at the
side of the neck, still using the sampled color. Blur the result 20 pixels,
change the layer mode to Multiply and set the opacity to 35 percent or
so. This will burn in and darken the lighter area at the side of the neck.
26. Burn in contours on the neck and chest. To do this, create a new layer
and name it 19 Burn in Contours and paint in accents similar to what
you’ve done in the previous steps. For this area, try using a brush
with a Fade dynamic (brush size 50, hardness 0 percent; check Shape
Dynamics on the Brushes palette; set the Size Jitter control to Fade

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and 150). Use Paintbrush strokes on the neck to accentuate contours.
After all the accents are in place, blur using a Gaussian Blur of 20 pixels
to soften, and set the layer Mode to Multiply and opacity to about
35 percent (or to your preference) to blend. See the Fade setting and
brush application in Figure 9.15. Figure 9.16 shows the layers at this point.

FIG 9.15 Change the brush size and fade length as appropriate to get better matching on contours. Blurring mode and opacity will help you blend in the
changes effectively.

27. Close up the Neck and Jawline group, and create a new group at the
top of the layer stack called Eyes and Mouth.
28. Repair the upper lip. To do this, make a new layer and name it 20
Upper Lip Repair. Choose the Healing tool and a small, hard brush (10
pixels). Sample from the cheek on the viewer’s right to repair the area
above the right side of the lip; sample from the cheek on the viewer’s
left to repair the left side of the lip. The final result should be a simple
smoothing of the shadowed area above the lip. Remember to use the
Sample All Layers setting for the Healing tool.

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FIG 9.16 The detailing in these few
layers helps set off the face.

29. Correct the brightness and color balance of the teeth (which have
changed partially owing to corrections). Isolate the teeth on their
own layer by creating a new Composite layer and renaming it 21
Isolate Teeth. Make a rough selection of the teeth, and click the Add
Layer Mask button, then blur slightly to feather the mask. Add a
Levels layer as a Clipping group, and make a Levels correction (see
Figure 9.17). Rename the Levels layer 22 Levels Teeth Compensation.
Adjust the opacity of the 21 Isolate Teeth layer (not the Levels layer)
to adjust the result (full opacity may seem too bright/white).
30. Correct the brightness and color balance of the eyes. Isolate the eyes
by making a new Composite layer, making a selection of the eyes,
and adding a mask as in the previous step. Name the layer 23 Isolate
Eyes, then add a Levels layer as a Clipping group and make a Levels
correction (see Figure 9.18). Rename the Levels layer 24 Eyes Brighten
and Balance. Reduce the opacity of the 23 Isolate Eyes layer to adjust
the result to a pleasing look.
31. Correct the color and intensity of the lips. Isolate the lips just as you
did the eyes and teeth, and name the masking layer 25 Isolate Lips.
Use a Hue/Saturation Adjustment layer as a Clipping group to make a
correction. I pushed the Saturation to 130 and adjusted the Hue to 4.
See Figure 9.19 for the current layer stack.
32. Close up the Eyes and Mouth group, and create a new group at the
top of the layer stack called Lighten Hair and Soften. We’ll use this

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FIG 9.17 In a smaller segmented correction like this, you will be far less likely to cut off tails. Here you want to retain everything or you will blow out details.

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FIG 9.18 Brighten the eyes using the center RGB slider.

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FIG 9.19 Fine-tuning of the whites
of the eyes, the teeth, and the lips
separately add some polish to the
corrections.

group to adjust the final tone and color of the hair as well as to add
some softening and glow.
33. Take a snapshot layer to gather all the corrections to this point in one
place. Name the layer something clever like 27 Snapshot.
34. Isolate the skin tones by loading the Red channel as a selection and
then copy/paste to a new layer. Name the new layer 28 Isolate Skin
via Red. We’ll use this for just a bit more softening of the skin tone.
35. Blur the content of layer 28 by 25 pixels using Gaussian Blur, and set
the layer mode to Overlay.
36. Take a Snapshot layer again, and name the new layer 29 Masked
Snapshot. Shut off the view for layers 27 and 28 as they were
temporary, used just to get this content. Add a layer mask to layer

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29, and invert the mask (press Command I/Ctrl I). Choose a large,
soft brush and paint with white in the mask to reveal the content of
the layer only over the face, then reduce the opacity of the layer until
pleasing … I lowered the setting to 50 percent.
37. Take a final snapshot of the image (by this time you must have that
shortcut memorized!), which we’ll use to brighten the hair. Name the
layer 30 Snapshot Masked to Hair. Add a layer mask, invert the layer
mask (as in the last step), set the layer mode to Screen, and paint over
the hair using the same soft brush as in the previous step.
38. Finally, soften the hair. Duplicate layer 30, name the new layer 31
Soften Normal. Use Gaussian Blur to blur 35 pixels, and reduce the
opacity to 30 percent. This will act to soften the hair. To bring back
the contrast we lost there, duplicate layer 31, name it 32 Soften Soft
Light, and change the mode to Soft Light, leaving the opacity at 30
percent. See Figure 9.20 for the layer stack at this point.

FIG 9.20 I use asterisks in the names
of layers I am keeping but that are
not visible in the image. If something
gets inadvertently turned on or off as
I work, I know which layers to shut off
the view for.

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Cropping in Layers
This image is already cropped from the original, but it may not always be
convenient or desirable to crop early in the process. Though you can’t really
crop in layers, you can create a Crop layer and use it to view the image as if it
were cropped. Doing this helps you stay on a path of nondestructive editing.
1. Create a new layer at the top of the layer stack and call it Crop. Fill it with
black and set the opacity to 0 percent.
2. Choose the Rectangular Marquee tool, and set it to 0 Feather. Choose
Fixed Ratio and set the ratio according to a standard image size if you
want a specific ratio.
3. Make a selection of the area that you would want to crop to. Use the
space bar to reposition the selection as you create it.
4. Invert the selection (Command Shift I/Ctrl Shift I).
5. Click the Add Layer Mask button at the bottom of the Layers palette.
At this point you have your Crop layer. You can turn the opacity up to 100
percent and shut off the layer view. As you work, keep the Crop layer at the
top of the layer stack. You can view the crop by turning on the layer view. You
can crop the image by Command clicking/Ctrl clicking the mask for the
Crop layer, inverting the selection, and choosing Crop from the Image menu
(Image Crop). This way the crop can also actually be stored with the image as
a layer.

At this point we have run the gamut of corrections on this image, and—for
the purpose of this exercise and the original hit list—we have completed
the image correction. We should consider the before and after comparison
in Figure 9.21 as the result. You can note the progress in the image by opening
the Sample_17_complete.tif on the CD, shutting off all the groups, and then
turning on the groups one at a time from the bottom of the stack. Note that
for the most part you can shut off lower groups out of order and still see the
results change because of the way the image was put together (the exception
is the lip correction, which may have been made later than necessary).

There may be additional corrections you might like to make or items that you
might like to adjust at this point. Of course, you can do more with this image,
and experimentation is encouraged.

Summary
In this image exercise we have used virtually every trick in this book, applying
almost every layer capability for practical purposes on an image that reflects
the type of day-to-day changes you may make to any image. We’ve had the
opportunity to look at evaluating images, how to apply your evaluation to
a plan for corrections, and how to apply layers for organizing your path to a
result.

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FIG 9.21 Again you may not approve of every change you see here, but the concepts of enhancement and targeting allow you to explore techniques in
context and, I hope, ultimately lead to a better result.

If you look at the completed sample image provided on the CD, you can turn
off the spot-correction layers individually to see how they play into the result.
In fact, every layer from the bottom up can be toggled on and off to view its
effect in the final result because they are masked and cumulative changes.

As far as working with these techniques in the future, the ideas we have
explored here in layering corrections, sharpening, soft focus, and selective
correction are applicable whenever you edit images. You are best off, as in
this example, working from the general corrections to the more specific and
leaving as many layers intact as you need to accomplish the job. You can
always go back later and clean them up, organize them, group them into
categories, and learn from them.

You will note in the sample image that I have noted brush sizes in the layer
names, blur radius, and any number of other things that will not be apparent
in looking at the content of a layer. In fact, even Photoshop’s editing log will
not record these details. Make smart use of layers and they can provide a
wealth of information, convenience, and flexibility that can be had in no
other way.

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In the next chapter we look briefly at an extension of correction in what it
means to make collage and composite images.

If you have any questions about the techniques and procedures in this
chapter, please visit the web site (http://photoshopcs.com) and make your
questions known on the forum!

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CHAPTER 10

Making a Layered Collage or
Composite Image

W e have looked at quite a lot of things that Layers can do, and the
important thing now is to continue to follow through using the
techniques you have learned. We looked at the entire process of evaluating
and correcting an image in Chapter 9. One step beyond just working out the
issues with a single image is combining images for a finished result.

In this chapter, the emphasis is on considering the ideas of collage and
compositing and how to be creative in implementing changes and additions
to images using the power of layers.

We have touched on using layers for image correction, adjustment, isolation,
and masking and how to use layers to manage and group corrections. In
reality, collage and compositing are just extensions of that. First we’ll look
at the ideas of compositing and collage and how you go about collecting
images for each. This speaks to the difference in what collage and composite
images are.

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What Is a Collage?
Collage is supposedly derived from the French word coller, which means “to
paste”—fitting to the idea of isolation that we looked at early on in this
book via copy and paste. We started with the simple idea of pasting, and
here we come full circle, returning to the earliest techniques to produce
the most complex results. A collage is simply a collection of images, used
in part or in whole or cropped out to specific areas, combined or pasted
together to create a collective visual. In other words, in making a collage
you gather source materials from two or more images and paste them
together. It’s that simple. Simple in idea, but complex, often very complex,
in execution.

A collage can be anything from the old grade-school exercise of taking out
a bunch of old magazines and cutting out images and then pasting them
to a larger sheet of paper to far more elaborate adventures in imaging.
The photographic equivalent is taking a group of pictures, extracting the
interesting parts, and combining them to achieve a result. It can be a simple
collection of images (say a grouping of family photos) or several organized
themes, cleverly composited or completely haphazard. It can be humorous,
serious, realistic, surreal, artistic, and more. When you are bored or have a
moment to exercise some creative muscles, it can be great fun.

Guidelines for Collage
Because collage can follow many forms and none are right or wrong,
guidelines for making a collage can only be general. You have to supply the
image choices and creative direction. Below, find my 5 C’s of collage:

1. Collect your images. You can do this in a variety of ways, from going out
and shooting new images to rummaging through old files. At the very
least you should be using at least two images … there is not really an
upper limit except for what time allows.
2. Create your canvas. Create a new image about two times the size of the
finished project. This will give you some layout space to work with and
elbow room for placement of the images. You can crop the image down
later (or use a Cropping layer as described in Chapter 9) or you may find
you just end up filling the space! At the very least this should be two
times the width and height of the largest image you plan to use.
3. Correct your images. Never neglect to make changes in individual images
just because you are going to composite them. The advantages of layer
corrections especially will be lost if you wait until later.
4. Clip out and composite. Like scissors to a magazine, you have the layer
tools to start snipping up your images. Make selections and masks to
isolate image areas that you will be using in the final collage, and move
those components to the canvas created in step 2.

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Making a Layered Collage or Composite Image

5. Compose. With all the images in the new canvas you can spend some time
adjusting positions, compositing, blending, correcting, and meshing.
There is no limit to what you can attempt, and this step can take many
hours depending on the complexity of what you are attempting.

Things to keep in mind:
●
Collage doesn’t have to appear flat and can include effects (e.g., drop
shadows) and patterns (like scrapbooking) instead of just images.
●
Some image parts, objects, or components may have to be built to make
any composited part of an image work within the new context.
●
Color needs to work together. Color can change! When you isolate image
components, you are giving yourself the opportunity to orchestrate the
whole scene. Take that opportunity to control the colors and how they fit
together, as well as the components.
●
Be cognizant of light and direction. If you are putting together a wholly
new object, and attempting photorealism, you need to ensure that the
lighting and light direction on objects in the scene don’t conflict with each
other. The lighting on all elements of your scene should match or it will
appear unnatural.

An Example Collage
Making a collage is a great way to find purpose for those images you would
possibly otherwise think belong in the digital trash. In a way it can be like
cloud gazing, by which you stare at images until something pops into your
head; or you can come at it with a purpose from the outset and fulfill your
vision. The images may not need to be superior, or even on a common
theme, but should be shots that can be somehow managed and merged. For
example, take a look at the grouping of shots in Figure 10.1.

Although there is no central theme to the images selected here,
each has something that is central and singular. In this case it is possible
to set to work just snipping out the objects and let imagination take over.
For example, this might be the source for a somewhat other-worldly scene
in which the vacuum is given life, adorned with wings from the butterfly,
making its rounds to a bright flower with a strangely twisted stem. To create
the scene you might start by creating a new image and then grouping
image elements for the butterfly vacuum, and then make the strange flower
(see Figure 10.2).

Once the major components are created, they can be fit together in a
cohesive whole in the strange terrain (see Figure 10.3). Every one of the
techniques required to complete the result was covered in this book. You can
probably tell what most or all of the techniques used were by examining the
sample processed image on the CD (Sample_18_Processed.psd). You can also
attempt to replicate the result or make your own/different collage with the

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FIG 10.1 There is nothing particularly connected about these shots, some are common, and some not so good at all ….

same photos (Sample_18_a.tif, Sample_18_b.tif, Sample_18_c.tif, Sample_18_
d.tif, Sample_18_e.tif ).

I would be glad to see creative collages made either with these sample
images or from other groupings. See the web site and forums (http://
photoshopcs.com) for information about collage contests!

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FIG 10.2 Components can be assembled from separate parts before combining them into the whole.

FIG 10.3 This surrealistic scene was
built from the five images in
Figure 10.1.

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Shooting Multiple Working with collage and compositing can really stretch your layer muscles.
Source Images The fun part is that the results don’t always have to be realistic, and you can
practice with aimless ease. Know that all the time you are practicing you are
In times of image trouble
one of the greatest enhancing your editing skills.
options to have is the Collage can be constructive and fun. But shooting images with the intent
availability of more than of creating a larger scene from a series of shots can expand your canvas.
one source image to
Panoramas are really a natural extension of the concept of collage, and we’ll
work with. If you take
look at that in the next section.
several shots of the same
scene, you are really
safeguarding yourself
for any corrections you Creating a Panorama
might have to make. For Similar to the ideas of collage and compositing is creating a panorama. You can
example, if you are taking
do this in situations in which you don’t have a wide angle to tackle the image
a posed family shot,
you want or to give you greater resolution in the result by stitching together
taking several images of
the same exact setup can consecutive shots taken in a horizontal or vertical plain. Images shot for a
give you the source to panorama are taken in a series—usually in quick succession—and the series of
replaced blinking eyes, images is connected to create a continuous landscape. The photos are usually
turned heads, cliché taken in a vertical or horizontal pan to capture a broader or taller area than you
gestures, and the like. would normally get in a single frame with whatever lens you are using. Because
you take several overlapping images shot in succession—perhaps using a tilt
This same philosophy
works to help you fix (vertical movement) or pan (horizontal movement) of a tripod—your resulting
any number of other image will have more image information once stitched together than any
problems. If you are on a single frame and can be enlarged more as a result (Figure 10.4).
trip to a scenic spot and
Good panoramas are a little tricky to shoot and often tricky to stitch together
you think you got the
shot, take the same one seamlessly. Lighting conditions change as you pivot the camera, and cameras
again. Chances are you in any type of autoexposure mode will try to compensate for that between
won’t be coming back all shots. This leaves you with a lot of tone and color changes to correct in
too soon and if you find postprocessing. The obvious solution is to shut off autoexposure modes and
your hand was a little shoot with manual exposure. Taking some care while shooting the source
shaky in the first frame, images for the panorama will help simplify processing. Instead of looking
you’ll have possibly saved forward to corrections, avoid at least a few by switching the camera to a
the shot by squeezing off manual mode first—before shooting any of the images. This will keep the
one more. Other images exposure setting the same for each frame in your panorama and will make
can be used for patching,
matching the exposure of the individual frames easier, and your work at
copy/pasting, and
the computer a lot quicker later. Setting your camera up on a tripod for the
otherwise fixing a variety
of things that go wrong. movement can also help by keeping the frames mostly aligned. When you
shoot the frames, you will want 30–50 percent overlap to give yourself plenty
of room to blend one image into the next as you stitch them together.

During editing to make these images stitch together smoothly, you will
probably have to pull out all the stops and use almost all we’ve done so far to
get a good result. If you open the source images (Sample_19_a.psd, Sample_19_
b.psd, Sample_19_c.psd, Sample_19_d.psd), you will notice some noise in the
images and that the color may need a little correction … though it is possible to
forgo most of these corrections until after the images are stitched together.

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FIG 10.4 A series of images can be stitched together to make a complete panorama.

The basic steps for completing a panorama are as follows:

1. Collect your images. Purposely shoot a series of images that overlap by 30
percent or more for the purpose of creating your panorama. Often you
will want to use a tripod and keep your exposure settings from changing
when shooting the series.
2. Create your canvas. Create a new image about two times the height of
your images and wide enough to fit all the images in the series. As with
collage, you leave some layout space to work with and elbow room for
placement of the images.
3. Compile and collate your images. Get all the images into the new canvas
and order them in series. If the series was shot horizontally, start stacking

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Using Automated the images in layers with the rightmost image on the bottom of the layer
Panoramic Tools stack, and work left in the panorama as you add layers so they remain
organized in the layer stack. If the series was shot vertically, stack from
Photoshop provides an
automated Panorama bottom to top (in the order of shooting). Ordering in layers will help
tool. To open the tool, organize your plan.
choose File Automate 4. Blend. The seam between images can be blended in a variety of different
Photomerge. The ways. The easiest technique (the panorama plug-in is based on this) is
Photomerge dialog will simply making a gradient blend at the seam from black to white. Layer
open; it allows selection masks are recommended. Varying opacity during the blending process
of the images you want can help you see better where edges match.
to merge and a plethora 5. Correct. Once you have the panorama stitched together you need to treat
of options for controlling it like a single image. You’ll want to go through all the steps of correction
the result. Just browse
from Levels and cropping to spot corrections to be sure you are making
for the images you want
the best image.
to merge, and click OK.
Generally the results of You can try stitching together the sample images provided on the CD for
a merge will be pretty this panorama, and you can see the corrections I made in the completed
good with a properly file Sample_19_processed.psd. The most telling part of the sample will be
shot series of images,
the masking used for blending the edges of the consecutive shots. Masking
and Photoshop will leave
helps make some otherwise tricky transitions simple. Waves—like lines in a
the images on separate
layers with masks that topographical map—might not want to fit together easily from shot to shot.
can be adjusted. It’s a But overlaps, masking, blending, and the power of layers can help you create
fun and easy tool for a seamless result.
creating even complex
You will probably want to start out simple with panoramas by just pivoting
photomerges.
vertically or horizontally to capture your subject(s). You’ll really need only
two successive shots to see how it works. But once you get to shooting
panoramas, horizontal and vertical movements become just the tip of the
iceberg. Also consider that you can make “dolly” movements, or change the
position of the camera to capture the scene. You do not have to strictly adhere
to making pan or tilt movements: you can make a panorama with several rows
of shots, or even with random camera movements that change angles. But the
first step is to give it a try by shooting your own series of images and stitching
them together. Use the Panorama tool in Photoshop for quick results, then try
your hand at working the scene manually. Again it can be great practice and
can force you to use tools and techniques you might otherwise avoid!

One step even beyond expanding your canvas is expanding the depth of the
color and tone you capture in your images. We’ll look at that in the next section.

Working with HDR Images
HDR stands for high dynamic range. Images that are HDR have greater
dynamic range than standard images. Specifically it refers to images that
are 32-bit, twice the number of bits in a 16-bit image and at least 35 trillion
times the color possibilities of even 16-bit images. Really there are more color
possibilities than that, because of floating point notation, which extends what

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the bits can represent. Because there is so much potential image information,
HDR images offer a huge potential gain in the image information that can be
stored for your images. At the same time they come with huge limitations.
Your monitor can’t display the detail of HDR images properly all at once, you
cannot print them, and, in fact, HDR images do not support layers.

As exciting as the potential of HDR images is, the real interest in the
photographic community in HDR recently has less to do with HDR images
themselves than with what those HDR images end up getting turned into
after processing. Images processed from HDR originals have to be altered to
be displayed, and the results are often artistic renderings of a scene made
using various techniques to postprocess an assembled HDR image. The
images can be surreal, or grungy; they can affect characteristics of watercolor
and other artistic effects, though some can affect a reality more like the way
the human eye perceives a scene. In reality, to call the images that result from
processing “HDR images” is to use a misnomer, as they are images converted
from HDR. It doesn’t make them bad, or undesirable, just different from HDR.
All I want to keep in your mind here is that HDR images and the effects you
see attributed to them are two different things. We’ll look at both creating
HDR images and processing them to attain a result here.

Making an HDR Image
The potential dynamic range of a standard image that comes off your camera
is determined by the bit count. The limitations the bit count puts on your
range of exposure can be very frustrating: when you expose for midtones,
detail in both the highlights and the shadows can suffer. When you expose for
either highlight or shadow, the opposite end clearly suffers the most. What if
you could combine the benefits of exposing for more than one range to get
the most out of highlights, midtones, and shadows? That could potentially
mean getting better images with more detail (as long as that detail can be
reproduced). Because our eyes are generally more forgiving and have greater
dynamic range than a camera and lens, we often perceive more than we can
grab in a capture. HDR images, which allow a greater dynamic range, would
be images closer to how we see (or what we think we see).

Making an HDR image technically takes no more than two exposures. That
is, you can make an exposure that favors the highlights in a scene and then a
second exposure that favors the shadows, combine them in a higher bit-count
image, and make a more robust exposure of the same scene. You also would
need a way to combine the images in a logical fashion so as to make the best
use of their respective ranges of exposure. That is, find a way to mix in the
exposure ranges without driving yourself quite nuts doing so. Often HDR
images are taken with at least three exposures, and sometimes many more.
Each exposure needs to give you information the other exposures would
not be able to in order to be an effective component of an HDR image. If the
range of light that you could capture in a scene is already within the range
that you can get in your camera in a single 16-bit image, HDR is a waste of

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time. The real interest of HDR is in capturing details in a scene that you would
otherwise miss in a single exposure. HDR is interesting and yet becomes the
realm of “extreme” images, in which lighting conditions exceed the limitations
of the hardware (your camera and sensor).

If you want to take a true HDR image, you need to take shots in scenes in
which there are special needs. These scenes should have content for which
the exposure ranges extend beyond the range your camera can see in a single
exposure.

So, with that in mind, here is the basic procedure for capturing and creating a
true HDR image:

1. Define a scene that cannot be captured in a single exposure. These are
usually images that have very distinct exposure zones: exposing for the
highlights would mean leaving the shadows underexposed; exposing for
the shadows would leave the highlights overexposed. Examples might be
taking pictures of stained glass windows inside a dim church or shooting
a sunrise or sunset where the foreground is silhouetted.
2. Take exposures that will cover the exposure zone(s) you have identified
in the scene. This can vary widely depending on what you hope to
accomplish. I have images, Sample_20_a.X3F, Sample_20_b.X3F,
Sample_20_c.X3F, and Sample_20_d.X3F, on the CD that can be used for
this exercise. The exposures cover a range of about five stops. If doing
your own image series, you’ll want to take at least three shots with some
Exposure for HDR
exposure difference between each shot.
Exposures for HDR can 3. Combine the images into an HDR (32-bit-plus) image. This can be done in
be differentiated in a Photoshop or with other applications and plug-ins. We’ll look at making
variety of ways. Most
the HDR images in Photoshop and an example of working with them
common would be to
manually to obtain an HDR result below.
shoot a series of images
varying the shutter speed
to favor different color Create an HDR Image in Photoshop
ranges in the scene. As Creating an HDR image in Photoshop can be very simple, though the results
an alternative, you could may not immediately be what you had hoped or expected. Combining the
adjust the aperture; images into an HDR image will not be the last step, as the conversion to 16 or
however, the response 8 bits will be necessary to make the image truly useful.
in the captures may be
less predictable as the
change in aperture will Try It Now
vary the depth of field.
1. Open Photoshop.
Finally you might keep
2. Choose Merge to HDR from the File Automate menu. The Merge to
the aperture and shutter
speed constant and allow HDR dialog will appear.
the lighting in the scene 3. Click the Browse button to locate the files you shot for the HDR image.
to change. The last of For a test case use the images shot for this purpose on the CD (Sample_
these may prove most 20_a.X3F, Sample_20_b.X3F, Sample_20_c.X3F, and Sample_20_d.X3F).
challenging and time Leave the checkbox for Attempt to Automatically Align Source Images
consuming. unchecked if you have used a tripod as with these sample images.

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4. Click OK to start the merge. The merge can take a while depending
on the size of the images and the computer you are working on.
The Merge to HDR dialog will appear after the images are
incorporated, allowing you to make a few adjustments at this time.
See Figure 10.5.
5. Click OK to open the HDR image in Photoshop in 32 bits.

FIG 10.5 The Merge to HDR dialog allows you to preview the HDR images you merge with different source images, different white points, and different
response curves.

That is really all there is to creating an HDR image. Although it may not look
very exciting, the result you see has to do with the fact that there is far more
in the image than your monitor can display. In actuality, the full range of tones
for the images that you merged is now housed in the single image, and you
can peruse that in step 4 by changing the position of the white point slider
on the right of the screen. With the image information successfully stored
in one place, you may want to archive your HDR image, as once you convert
it the information will be lost, unless you re-create the file (in a similar way,
resolution is lost when you downsize an image).

Save this image to a temporary spot on your hard drive. Now that you have
the HDR image … what do you do with it? For most people the next step is
what really makes for interest in the concept of HDR. We’ll look at conversions
in the next sections.

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Automated HDR Conversions
Converting the image to something usable from the 32-bit image can
again be done with third-party products or right within Photoshop. There
is really no right or wrong way, and some of the tools/plug-ins touted for
making HDR conversions are revered more for artistic license than for realistic
conversions. Let’s take a look at how to do it in Photoshop with your hands at
the controls.

Try It Now
1. Choose 16-bit from the Image Mode menu (Image Mode 16-bit).
The HDR Conversion dialog will appear. See Figure 10.6.

FIG 10.6 As of this writing, the HDR
conversion dialog is a little buggy,
showing users controls they cannot
use for certain conversion types. For
example, Curve is useful only with the
Local Adaptation choice.

2. Choose a conversion method from the drop-down list (see Figure 10.7).
Depending on the conversion method you choose, you will have more
or less control over the results. See the descriptions below.
FIG 10.7

268


TABLE 10.1 Conversion methods.

Conversion Method What It Does

Exposure and Gamma Lets you manually adjust the brightness and contrast of the HDR image
using sliders.

Highlight Compression Compresses the highlight values in the HDR image automatically so they
fall within values compatible with 8- or 16-bit image files. This method is
automatic.

Equalize Histogram Compresses the dynamic range of the HDR image while trying to preserve
contrast. This method is automatic.

Local Adaptation Adjusts the tonality in the HDR image by calculating the amount of
correction necessary for local brightness regions throughout the image.
Allows users to apply Radius, Threshold, and Curve adjustments.

3. Click OK to complete the conversion.

That is really all there is to it. Your decisions on the conversion dialog will make
the difference in the result. Those who are familiar with what are touted as HDR
images will be most interested in the Local Adaptation option, using a wide
radius and threshold. Third-party plug-ins will have more variation along these
lines. But whatever choice you have made, there is your HDR conversion, and you
can go about using the image like you would any 16-bit image. You will probably
get more out of it with local contrast enhancement (using the Unsharp Mask
filter), but your changes and path from here should come from evaluation of the
image. The conversion itself should really not be considered an endpoint, and
you may want to convert more than once for different purposes from the same
original … you may see how this can then turn into a bona fide layers project!

Let’s have a look at how you might manually handle the entire process to
get a better idea of what you are accomplishing in the result. Whereas the
following never really creates a 32-bit HDR image, the result is made from
multiple exposures and can easily mimic HDR-converted images.

Manual HDR Conversions
Automated conversions may not be terribly intuitive nor may they result in
the final image you expect—at least not without a lot of alteration. Being
suspicious of automated adjustments, I tend to prefer working images
manually, as ultimately I have more control over the result. Like nearly any
other change in Photoshop, a hands-on approach may yield a better result
that any automated one, as you can see differences and react, whereas an
automated solution just performs a calculation. The following works through
a simplified process of compiling an HDR result (not the same as an HDR
image) from the sample images, starting with the four sample exposures.

269


My goal for the image is to see all parts of the exposure ranges I intended to
expose for: a soft version of the pots, revealing more of the shape of the rims
than the pots themselves; details in the sash; and a strong, contrasty rendition
of the scene in the window.

Try It Now
1. Open all of the HDR sample images on the CD (Sample_20_a.X3F,
Sample_20_b.X3F, Sample_20_c.X3F, and Sample_20_d.X3F). When
the Camera RAW dialog appears, do not change the settings and
accept the defaults.
2. Assemble the four images into one layered image. Using the Sample_
20_a.x3f image as a base, press Shift, and then click and drag the
Sample_20_b into the Sample_20_a image. Do the same click and
drag with Sample_20_c, and then Sample_20_d, so they stack in
order (a at the bottom, d at the top of the layer stack, brightest at the
bottom). Name the layers a, b, c, and d, according to their Sample
names. See Figure 10.8 for what your Layers palette should look like.

FIG 10.8 Stack the sample images
from the bottom to the top of the layer
stack in order.

3. Shut off the Visibility toggles for the b, c, and d layers. Then load the
luminosity as a selection. To do this, open the Channels palette and
Command click/Ctrl click (Mac/PC) on the RGB thumbnail.

270


4. Activate the b layer, turn on the Visibility toggle, and with the
selection still active from the previous step, create a layer mask. The
mask will automatically fill to allow highlights to pass.
5. Load the luminosity as a selection again (it will be slightly different
based on the currently visible layers and blending). Then activate the
c layer, turn on its Visibility toggle, and create a layer mask, which will
automatically fill based on the selection.
6. Load the luminosity as a selection a third time (again the selection will
have changed and narrowed as the highlights become darker). Then
activate the d layer, turn on its View toggle, and create a layer mask.
The result in the layer stack at this point should look like Figure 10.9.

FIG 10.9 Stacking layers in
consistently darker steps masked to the
highlights will serve to darken/burn
in the highlights for each successive
exposure.

7. Make a Levels correction for the image using an Adjustment layer.
8. Make a Color Balance correction for the image using an Adjustment
layer.
9. Make a Snapshot layer in the layer stack to collect the changes to
this point. Load the highlights as a selection again and create a layer
mask. Paint over the barn with white. Set the layer mode to Overlay
(to enhance the contrast and color in the highlight area).
10. Add other Hue/Saturation adjustments as desired. The finished sample
on the CD shows two such adjustments: one to the base layer to tone

271


(a) (b)

(c) (d)

FIG 10.10 Figures a, b, c, and d show the original exposures. The Layers palette shows what these steps result in, and the additional image shows
the result.

272


down the reds (and essentially desaturate the pots) and another to target Using the Masks Palette
and desaturate hotspots where reds were too strong in the pot rims after for Mask Adjustments
the various versions of the exposure were merged. A new feature in
11. Blur the masks for the b, c, and d layers. This will blend the changes Photoshop CS4 is the
from one layer to the next and enhance contrast. The blur can greatly Masks palette (see Figure
affect the result and here it has some dramatic effects. I used 35 pixels. 10.11). The palette lets
you make adjustments
See the Using the Masks Palette for Mask Adjustments sidebar. The
to masks that are
results at this point should be like Figure 10.10.
nondestructive! That is,
instead of applying a
blur directly to the mask
content as I did in the
example, you can apply
virtual blur using the
Feather option. The great
benefit of the Masks
palette is that it will store
information on mask
transparency and blurring
separate from that of
layers. In this image you
would be able to preview
different amounts of
feathering and blur for
each channel without
having to undo–redo and
compare with Histories
or via other more
complicated methods.
Just make the change to
the feathering and see
the result in real time,
then switch to another
FIG 10.11 The Masks palette is a powerful tool for controlling the deployment of masks, thereby affecting
mask. Feathering will be
considerations you may want to make in applying masks and masked content.
approximately the same
range as the radius in a
The result of the HDR composite allows me to show details in the pots, the
blur. Other adjustments
sash, the barn, and the sky so they can all be visible in a single image, as I implemented via the
want them to appear. This is opposed to what I could get from any one of the Mask Edge and Color
single exposures, which would have compromised details in various areas. Range dialogs (opened
Though it is more involved, the results of manual assembly also leave more via buttons at the lower
control. In the end, you still have to use layer processing techniques to get the portion of the Masks
best results and composite image from the HDR source images … and your palette) open many doors
choices may be different from mine. for experimentation and
merging your layered
content.
Summary
This chapter lacked specifics in the step-by-step directions at points, quite
by design. We covered some of the basic concepts of composite, collage,

273


and HDR as a way to think beyond the boundaries of the confines of single
images as an endpoint to your image creations. The techniques you will need
to accomplish the merging and creation of these image results were covered
earlier in the book. You have been supplied with the images you need and the
outline of what to do, and the intent was to leave the details in your hands.
If you get stuck, samples on the CD showing my completed images will hold
clues to the answers you are looking for. Trying to complete the collage and
composites is an opportunity to explore techniques discussed throughout the
book before you have to go at it more completely on your own with your own
images. The core of this chapter lies in taking a broader view of images, in
depth, breadth, and possibility. Objects and images can be combined not just
within their own spatial area, but with other images, to expand the borders
of what is possible well beyond the scope of the viewfinder and the ability to
capture digital information in a single frame.

So you see that with panoramas and blending edges we have truly come
full circle. Panorama stitching is quite like trying to put together the pieces
of a puzzle, or like blending the edges of a map to stitch together a series
of scans—as I told of all the way back in the introduction to this book. I
hope that now that you have seen what layers have to offer and how they
can enable you to do things with images that would otherwise be far more
difficult without layers, you have a map for your future of working with images
in Photoshop and expanding on what you can do with your images.

I like to think that the ends of my books are always just the beginning. As
you have time to work with Layers, using this book as a starting place and
reference, you should grow well beyond what we’ve looked at to expand your
horizons. As you continue to explore Photoshop Layers, please visit the book’s
web site (http://www.photoshopcs.com) and visit the Layer forums online to
ask questions, get answers about layers and other Photoshop issues, and chat
with other people who are interested in Photoshop, images, photography,
and layers. This author is bound to be there fairly often, and I look forward to
seeing you there.

274

PHOTOSHOP’S ESSENTIAL
TOOLS LIST
W hen an electrician has to climb a telephone pole to fix a problem, he
or she doesn’t bring every tool in the toolbox. The practical, handy
tools go in the belt, and up the pole they go, ready to handle any problem.
Photoshop can be looked at in a similar way. The real trick is knowing what
tools will handle any job, so you can put those in your belt, and cutting
down to the essentials so you can focus on the task. A master tool list of
functions that you should be familiar with is included here. This appendix
includes a list of tools that you want to be not just aware of, but competent
using to get the most out of your corrections with layers and Photoshop in
general.

With a core set of tools you’ll be able to focus on learning just those tools
rather than trying to grasp the function, use, and nuances of each and
every tool on every menu—some of which are redundant and essentially
unnecessary. When you have less to remember, you have far less to get lost
in by randomly exploring tools and functions that you hope will do the job.
Exploration and experimentation can be left until you have more expertise,
time, or interest (though you should always give exploration a time limit, or
you’ll get lost). With a lighter tool belt you’ll have everything you need when
you climb the pole, and you’ll be sure to get the job done without coming
down to waste time foraging around in the van for more tools.

The Mythical “Read My Mind” and “Do It For Me” Tools
In talking with people about Photoshop, one tool that they always seem to
have thought they read about in a tutorial, or saw at a conference, or read
about in a book is the Read My Mind tool (also known as the Do It For Me tool,
or even the Read My Mind and Do It For Me tool). It seems the eternal hope
is that Photoshop will be able to do the thinking. It is terribly frustrating when
you get an idea of how a result will look in your head and you use the buttons
and functions you thought you should and then don’t end up with the result
you expected. If you are able to imagine how you want something to look, it
means you have a good imagination and eventually Photoshop will work out
well for you. However, the tools never do the thinking for you, and they never
know what you see in your mind’s eye, even when their names suggest they
know what you are thinking.
Really, you almost never want the computer to do the thinking for you.
The reality of using Photoshop is that automated tools for correction make
approximations. Computers also never see an image to make an aesthetic

275


judgment, they just perform calculations. You are never hardwired to
Photoshop, and the program itself isn’t much of an artist—regardless of what
you pay for it or what version you own. You may think you can depend on it to
make images better, but really all it does is enable you to make images better.
Most of the unpredictable tools are exactly the ones we steer away from if you
use the tool list supplied here. To be sure rumors are dispelled: there are no
tools that think for you. No matter how elegantly they work, tools will not “read
your mind” or “do it for you” and certainly none will do both—whatever the
task. That is as it should be (Figure A.1).

FIG A.1 The only tools that attempt to automate corrections are those that you probably shouldn’t use.

The following list is categorized into External Applications, Commands,
Functions, Freehand Tools, and Filters. Each is explained more fully by section.
You can use other tools or additional applications as you explore Photoshop,
consult tutorials, or develop your own work flow, but this list will be
comprehensive as a base in reflecting what you absolutely need.

Exploring New Tools
One of the reasons users find Photoshop daunting is that they try to learn too
much—or even all of it—at once. A better approach for most people will be
to learn a tool at a time. If there are tools in the list here with which you are
not familiar, note them down, and give yourself the opportunity to explore
them one a day, for as many days as it takes, 15 minutes a day on each one,
until you get through the list. Make your 15-minute sessions productive by
looking up the tool in Photoshop Help (in Photoshop, press Command / or
Ctrl / [Mac/PC]), read the description, and apply the tool/function to a sample
image to actually see how it behaves. Don’t look so much for expert results as
the opportunity to learn how the tool behaves. That experience will go a long
way toward incorporating it into your work flow. In this way you can build your

276

Photoshop’s Essential Tools List

repertoire of the necessary tools in a short period of time. Fifteen or twenty
minutes a day for a month would cover this entire list, but chances are you are
familiar with many of them already if you are reading this book. If there is a tool
or two that you don’t get the hang of right away, put them on a new list that
allows 30 minutes to explore.

External Applications
External applications are the additional software items that you add to your
system to enhance processing. There are a plethora of add-ons you can
install for Photoshop, some free and some for a cost, that claim to add on
to what Photoshop already does. These may come in the form of plug-ins,
actions, scripts, custom shapes and brushes, etc. Some of these additions
may be valuable additions (like those included with this book). Some will
be good for users who are already very familiar with the tools in Photoshop,
know what they want to accomplish with the program, and are looking
for a specific enhancement. Generally, the wealth of available add-ons and
plug-ins may seem tempting, but many plug-ins and add-ons just duplicate
or repackage functionality already in Photoshop, sucking in users with
claims that they are the Do It For Me tool. For the most part they promise a
lot, deliver a little, and add to the bulk of things you already have to learn.
Yes, that’s right, you have even more to understand with every tempting
addition, not less! For this reason I always suggest keeping add-ons to a bare
minimum.

There are really very few external software applications that you need to
work with Photoshop. Those that you do need are mostly a given. You will
need a computer that has operating system software capable of running
Photoshop. You will also sometimes need drivers that are provided by the
vendor of the additional equipment you purchase (for your printer, camera,
backup systems/drives, etc.) or other manufacturer software to run hardware
and devices. A few things you will need that are less obvious are software
utilities to calibrate your monitor and build an ICC profile (recommended).
Some things you may want, such as additional editing software, HDR
plug-ins, image management, etc., are not necessary, and they shouldn’t be
allowed to cloud the picture. Hold off on them if you are still working on the
basics.

The best overall plan in managing peripheral applications is similar to limiting
your tool list: keep it simple so complexity and potential variables stay at a
minimum. More software means more to learn, so put all the nonessential
software aside. If you have trouble with your computer system, the first place
to start troubleshooting is by eliminating extra software and peripherals—or
simply not adding them as variables in the first place.
See Table A.1.

277


TABLE A.1 External applications.

Monitor calibration As time rolls on, I am less enamored of software solutions to calibration.
With some great calibration options available for little money (ColorVision
SpyderExpress: http://aps8.com/spyder.html), it really doesn’t make sense
to trust your calibration to your eyes. Software calibration might be used for
precalibration to get you in the ballpark before you even bother calibrating
with a hardware device (on a PC that would be Adobe Gamma, found in the
Control Panel; on a Mac, Display Calibrator Assistant found in the Displays
System Preferences by clicking the Color and then Calibrate buttons). These
software utilities do easy monitor calibration and ICC profile generation in
one process, but all you really need them for is the base settings. Hardware
calibration is simply more reliable than software-only solutions. Monitor
calibration and creating profiles can help you stabilize your work flow and
get better color matching between your monitor and your output. If you
have problems with output color, the solution will likely start with good
monitor calibration.

Device software Scanner, digital camera, printer, card reader, backup/DVD/CD/RAID drivers,
and software that enables you to access additional hardware that you will
be connecting to your system to access or store images. See user manuals
and installation instruction materials for each device you add to the system
for more information.

Photoshop Help Help Photoshop Help, or press F1. The Photoshop Help system is a reliable
resource for basic information on using Photoshop features and functions
and is a great place to begin exploration of any Photoshop tool, and the
price is right (free). Depending on your choices during the installation of
Photoshop, this feature may require additional installation. It is worth the
install.

Commands
Commands are simple functions—essentially a single step—used to achieve
a result. I say “essentially” because you may have to address a dialog to get the
result accomplished. For example, if you open an image, you will need to use
the Open command. In the Open dialog, you will have to browse to find the
image you want to open.

Most commands will be found on the program menus and can be invoked by
shortcuts. See Table A.2.

Functions
Functions are more complex than simple commands that have a definitive,
one-step goal. Using functions you will have to determine how to apply settings
to achieve results, usually using multiple controls and function features to
determine the final outcome. Adjustment of more than one control is usually
necessary, and nothing can be achieved using the defaults. See Table A.3.

278


TABLE A.2 Commands.

New File New, or press Command N/Crtl N. Opens a new image. In the New dialog, set
the color, size, and resolution to use for a new blank image. Creates a new image. You
might use New to create a canvas on which you would add other images to make a
composite or collage.

Open File Open, or press Command O/Crtl O. Opens an existing image. You will use
this command often to open images you have downloaded from your camera.

Save As File Save As, or press Command Shift S/Ctrl Shift S. Opens the Save As dialog.
Save your image with a new name, file type, or location. It is suggested you use Save As
most or even all of the time to avoid file conflicts and potential for overwriting original
files.

Save for Web File Save for Web, or press Command Shift Option S/Ctrl Shift Alt S. Save
images for the web using JPEG or GIF file types, limited color, and transparency.
Using Save for Web results in a smaller file than just saving as a JPEG even with the
same compression ratio. There are additional preview benefits as well.

Undo Edit Undo, or press Command Z/Ctrl Z. Reverses the previous action you took in
editing an image. This is useful for all sorts of things, but mostly for stepping back in
the process when you don’t like what a change achieved. To step back multiple steps,
look to the History palette (Window History).

Copy Edit Copy, or press Command C/Ctrl C. With a selection active in your image,
you can copy the selected image area to the clipboard. Think of this like you might
use copy/paste to move a URL to a browser or to edit text in an email. Copy can be
used to duplicate custom selected image areas or move image content to a new
image.

Paste Edit Paste, or press Command V/Ctrl V. Paste the content of the clipboard that
was stored using the Copy command into the current image. Copy and Paste are
almost always used together to duplicate selected image areas to the same image or
other images.

New Layer Layer New Layer, or Command Shift N/Ctrl Shift N. New layers can also be
created with the Create a New Layer button at the bottom of the Layers palette and
the New Layer command on the Layers palette menu. This will create a new layer
with no content.

Duplicate Layer Duplicate Layer, or duplicate a layer in the Layers palette by dragging an
Layer existing layer to the Create a New Layer button at the bottom of the Layers palette.
The Duplicate Layer command is also available on the Layers palette menu. This will
create a new layer that is exactly like the one being duplicated but with the word
“Copy ” appended to the layer name.

Create Layer New Adjustment Layer and choose a selection from the New Adjustment
Adjustment Layer submenu. You can also create these with the Create New Fill or Adjustment
Layer Layer buttons at the bottom of the Layers palette. These help you keep adjustments
distinct from layer content.

(Continued)

279


TABLE A.2 (Continued)

Merge Layers Layers Merge Layers (Command E/Ctrl E), Layers Merge Visible
(Shift Command E/Shift Ctrl E). Merge layers in one of several ways to cut down
on the number of layers in your image and be sure the file isn’t unnecessarily large.
Merging content should be done only where you don’t expect to have to reverse the
changes later; you can use Undo immediately following a merge, but you can’t undo
the changes in a later editing session (after saving and reopening the image).

Flatten Layers Flatten Image (no shortcut). Very much like Merge Layers, but this function
specifically combines all layers and image content and flattens the image into a
Background layer only.

Image Size Image Resize Image Size, or press Command Option I/Ctrl Alt I. Allows the
user to change the size and resolution of an open image. Usually this will be a step
that you will take in preparing an image for output to a printer. Upsampling an
image (making it bigger) by more than 10 or 20 percent is not recommended as you
cannot re-create detail that you did not originally capture. Downsampling is less
problematic. Use Bicubic resampling in most cases to get the best resizing result and
Constrain Proportions so the image does not distort horizontally or vertically.

Transform Edit Transform, or press Command T/Ctrl T. Allows you to reshape an object you
have isolated with selection or by Copy/Paste so that it is in its own layer. This can
come in handy when you have to patch an image area that is missing or damaged, or
when you want to remove objects/people from a scene.

Inverse Select Inverse, or press Shift Command I/Shift Ctrl I. This will take a selection
you have made and invert it; instead of the area inside the selection being selected,
the selected area will change so that everything outside the original selection is
selected. This is great for using a flatly colored background to make a selection of an
object or in other instances in which it is easier to make a selection outside an object
than of the object itself.

Fill Edit Fill, or press Shift F5. Will fill a whole layer in your image with a single
color (foreground, background, black, gray, or white). This is useful for color and
tone adjustments, converting to grayscale, etc., but also for creating masks from
selections.

Layer Opacity Opacity slider on Layers palette (no shortcut). Adjust transparency/visibility of
individual layers in an image to blend and combine layer content and effects.
A variety of uses in blending layer content and for color and tone adjustments. Use
up and down arrow keys for fine adjustments.

Layer Mode The Mode drop-down list on the Layers palette. In keeping with the common
theme that everything isn’t a necessary tool, of the 23 layer modes, only about six
have everyday uses. These modes apply image content selectively. Normal mode is
the default, Multiply is used for darkening or creating shadows, Screen is used for
lightening, Overlay has several enhancement properties for working with contrast,
Color applies layer color only, and Luminosity applies tone sans color.

280


TABLE A.3 Functions.

Levels Layer New Adjustment Layer Levels or Command L/Ctrl L. Opens a
Levels dialog, but creates no Adjustment layer. View image histograms as part
of the Levels dialog box display. Use simple sliders to adjust tonal dynamic
range and balance image color. Helps image contrast and color.

Color Balance Layer New Adjustment Layer Color Balance or Command B/Ctrl B.
Opens a Color Balance dialog, but creates no Adjustment layer. Adjust color
by balancing the influence of color opposites for highlights, midtones, and
shadows. Helps remove color casts and stubborn flatness in some images.

Hue/Saturation Layer Layer New Adjustment Layer Hue Saturation or Command U/Ctrl U.
Opens a Hue/Saturation dialog, but does not create a Hue/Saturation
Adjustment layer. Adjust color by using slider controls to alter hue, increase/
decrease saturation, and affect general lightness and darkness. Most effective
when used to enhance color saturation.

Layer Mask Layer Layer Mask Reveal All (no shortcut). Customize visible image areas
without permanently erasing content. Very useful for blending in pasted
image areas and molding/fitting parts of a collage or composite. Often used
in conjunction with Selection (Polygon Lasso, Magic Wand), Fill, and/or the
Paintbrush tool.

Blending Options Layer Layer Style Blending Options, or double-click a content layer. Either
action will open the Layer Style dialog. From this screen you can control
many options, like General Blending (Mode and Opacity), Advanced Blending
(Fill Opacity, Channel Targeting), Blend If (conditional blending based on
layer content), and Layer Styles (effects/styles assigned to the layer). This is a
very powerful command center for controlling layers and how they interact.
Can be used for a wide variety of content blending and effects.

Freehand Tools
The toolbar has many freehand tools on it that you will use infrequently or
not at all. By freehand, I mean that the application is controlled by your input
device and the position of the cursor.

For all of these tools, be aware that options on the Options bar will affect the
way the tools are applied. For basics about options for each of these tools,
look them up by searching Help for “[tool name] options.” See Table A.4.

Filters
Filters are an area of the program menus that get explored extensively by
newer users, who often flock there to try out special effects and put some
pizzazz into their images. The foray into filters is usually one that is hit or miss,
and although you can spend innumerable hours applying various filters and
settings, in reality, you get less pizzazz from filters than you get from shooting
better images.

281


TABLE A.4 Freehand tools.

Crop tool Press C on the keyboard. Used to change image size by permanently removing
(cropping out) image edges. Use this to correct framing for your image, flatten
horizons, remove objects at the edge of the image that shouldn’t be in the
frame, and adjust perspective (make images 4 6, for example).

Polygonal Lasso tool Press L on the keyboard and Shift L to scroll the Lasso tools. Create
selections of regular and irregularly shaped image objects by clicking at
intervals around an object edge. Use short segments to select curved edges.
Easier to control than the standard Lasso tool.

Magic Wand tool Press W on the keyboard. Create selections of areas of same/similar color
quickly by clicking in the area. Great for making selections of large, similarly
colored areas (sky) or selecting objects with a single-color background
(select the background and invert the selection). I use this less and less as
I use masking, calculations, and Blend If more and more. Helpful for quick
selections but not always very accurate.

Move tool Press V on the keyboard. Use to reposition objects on layers within your
images, such as you might have when pasting replacement areas or when
working with collages or composite parts.

Clone Stamp tool Press S on the keyboard. Make brush-style corrections by sampling image
areas to clone to another part of the image. Great for straight duplication of
one image area to another. Excellent for all manner of spot correction such
as dust or other simple debris.

Healing tool Press J on the keyboard. Make brush-style corrections by sampling image
areas to clone to another part of the image. Healing is similar to Clone
Stamp, but this tool makes “smart” corrections to your images by comparing
the sampled area to the target and attempting to blend the correction with
the surroundings. Perfect for making isolated corrections, like removing a
stray eyelash from a cheek.

Paintbrush tool Press B on the keyboard and Shift B to scroll the Brush tools. Used for
freehand painting. Good for colorizing, adding manual shadows and
highlights, and adding dodge and burn effects. An excellent tool for use with
layer masks to create custom masking effects.

Eyedropper tool Press I on the keyboard. Sample to check color and tone values in specific
image areas or to set the foreground/background colors that can be used
with Fill or Paintbrush. Also used in conjunction with the Info palette to
display sampled color information.

Foreground/ No shortcuts to open the Color Picker. Press D for default colors and X to
Background Swatches exchange foreground and background. These color swatches store colors
selected from the Color Picker or sampled from the screen using the
Eyedropper tool. To change the foreground color, use the Eyedropper tool
and click anywhere on your image. To change the background color, press
Option/Alt and click on your image.

282


Filters listed here are few, because it is often difficult to predict exactly how
some filters will behave and what benefit you will get from the result of
applying it. These filters are the practical ones that you will use for image
correction, to fix damage, and to create simple effects. They are not “wow ”
filters that will create instantly interesting effects. Before you do anything
to make fantastic effects you want to have complete control of your image.
These filters provide you with a means of control. See Table A.5.

TABLE A.5 Filters.

Add Noise filter Filter Noise Add Noise. Adds digital noise to an image. Useful for roughening up
tones that are unnaturally smooth, such as areas painted with a Fill or Paintbrush
tool. Sometimes used in conjunction with Gaussian Blur.

Gaussian Blur Filter Blur Gaussian Blur. Blends adjacent pixels to create a blurring effect. Blur
filter useful for smoothing out tones that are unnaturally rough or oversharpened
or for creating focus effects (e.g., soft focus, depth of field).

Unsharp Filter Sharpen Unsharp Mask. Allows user to adjust both local and fine contrast
Masking in the image to affect the appearance of sharpness, improve edge definition, and
enhance contrast in color and tone.

Looking over these lists of tools and depending on how you count, there are
just about 30 tools to keep in mind for editing your images. That may sound
like a lot, but it is a fraction of the total number of tools, yet a complete tool
belt that will help you get through any image-editing situation. Be sure to
become familiar with these if you are not already.

283

INDEX

A clipping text/background, 52–54
ActionFx-CS4_Set_01.asl, 129 compared to normal layers, 14
Actions Layer from Background method, 17
Black-and-White actions, Richard’s Custom, New Background layer method, 17
220–221 Background/foreground swatches, 282
Blend If actions (on CD), 198–199 Bevel and Emboss, 123
CD. See CD (included with book) Black-and-White action, Richard’s Custom,
Color Mask action, 198 220–221, 224
Drop Shadow/Glow action, 136 Black-and-white images
loading, 132–133 creating color from, 202–210
palette, 132–133 creating filtered color, 211–216
RGBL Components action, 220, 222, 224, 233 creating from color images, 221–226
set, 133 custom conversions to, 221–226
Activating layers, 51–52 Blank layers, creating, 16
Add a Layer Mask button, 11 Blend If, 169–199
Add Layer Style button, 11 actions (on CD), 198–199
Add Noise filter, 95, 100, 282 basic use of, 170–174
Add to Sample (Hue/Saturation dialog), 103, 193 compositing, 179–190
Adding layers creating color-based mask, 191–199
for change, 81 Knockouts, 177–179
nondestructive editing, 4 as mask, 190–191
soft focus, 105–108 vs. masking, 177
Adjustment layers overview, 169–170
applying Levels for color correction, 70–73 splitting sliders, 176–177, 183–184
basics, 13 This Layer slider, 172–174
correction for flowers example, 102–105 Threshold function, 182–183
correction in, 66 Underlying Layers slider, 174–175
creating, 17, 279 using This Layer slider, 172–174
Levels corrections. See Levels corrections using Underlying Layers, 174–175
New Adjustment Layer button, 11 Blend_If.atn, 198–199
Adjustments palette Blending
basics, 13, 17 Mode button, 9
CS4 feature, 26 modes. See Layer modes
Anti-alias, 78 Options, 281
Archiving system, 32 Blog, xxiv
Author, contacting, xxv Blur filters
Gaussian blur, 24–25, 96, 283
B radius, 24
Background layers Brush tool
basics, 13 creating your signature, 5–6

285

Index

Brush tool (Continued) Targeting, 219, 281
for neck/jawline corrections, 247–248 Character palette, 52–53
outlining for masking template, 97–99 Cleaning up images, 93–94
painting areas for sharpening, 114 Clipping group. See Clipping layers
Buttons. See Layer Palette buttons Clipping layers
basics, 14
C Create Clipping Mask, 14, 24
Calculations exercise, 52–54
basics, 144 identifying clipping mask layers, 25
separating color/tone, 156–162 Use Previous Layer to Create Clipping Mask
sharpening, 162–165 checkbox, 26, 27, 56, 245
Calibration (monitor), 31, 278 Clipping masks. See Clipping layers
Camera settings/controls, 32, 33 Clone Stamp
Canvas Size dialog, 21 basics, 282
Capture of images, 30, 33 manual sharpening, 115–118
CD (included with book), xxii–xxiii simple layer repair, 82–84
ActionFx-CS4_Set_01.asl, 129 Close Palette button, 9
Blend_If.atn, 198–199 CMYK separation, 220
Layer_Effects.atn, 132 Collage
MAC/PC compatibility, xxiii–xxiv basics, 258
Preset Manager for Styles, 129 creating panoramas, 262–264
Sample_1 files, 5 example, 259–262
Sample_2 files, 20 guidelines for, 258–259
Sample_3 files, 54 HDR images. See HDR images
Sample_4 files, 70, 83 panoramic images. See Panoramas
Sample_5 files, 94, 118 shooting multiple source images, 262
Sample_6 files, 124, 125, 130, 132, 134, 139 summary, 273–274
Sample_7 files, 139 Collage contest, 260
Sample_8 files, 144, 145 Color
Sample_9 files, 144, 145 adding enhancements, 110–111
Sample_10 files, 156 Balance. See Color Balance
Sample_11 files, 163 calculations, 211–216
Sample_12 files, 180, 181, 182, 186 clipping layers, 52–54
Sample_13 files, 180, 181, 182 correction, 70–73
Sample_14 files, 192 effects, 123
Sample_15 files, 202 enhancing natural color/tone, 102–105
Sample_16 files, 222, 224 evaluating images, 34, 231, 233
Sample_17 files, 230, 231, 232, 235, 254 filtering, 211–216
Sample_18 files, 259, 260 images from black and white, 202–210
Sample_19 files, 262, 264 RGB components, 202–204
Sample_20 files, 266, 270 separations. See Separations
Separations.atn, 220–221, 222, 224 Color Balance
Channels basics, 86–87, 281
layers as, 201, 226 in head shots, example, 237
as masks, 120 in ship’s mast, example, 185
RGB, 202–221 for ship’s mast example, 188

286

Index

sliders, 88, 188, 237 Create Adjustment Layer, 17, 279
Color Burn mode, 147 Create Clipping Mask, 14, 24
Color Correction Creating layers. See Layers, creating
Color Balance, 86–87, 185, 188, 237, 281 Crop layer, 254
Levels corrections, 70–73 Crop tool, 237, 282. See also Cropping images
Color Dodge mode, 149 Cropping images, 34, 231, 233, 237–238, 254
Color Mask action, 198 CS4 new features
Color modes, 154, 156–162 Adjustments palette, 13, 17, 26
Color Picker, 52, 125, 135, 282 Masks palette, 273
Color-based mask, 191–199 Custom black-and-white conversions, 221–226
Commands, essential (Photoshop), 278–280 Custom ISS profile, 31
Components
channels as, 201, 226 D
collage example, 259–262 Damage corrections
creating color from black and white, 202–210 basics, 34, 35, 81
creating filtered color, 211–216 using Clone Stamp/Healing Tool, 82–85,
creating layers for, 75–76 115–118
separating color image into RGB, 216–221 Darken mode, 146
Composite layers, 100–101 Darker Color mode, 148
Compositing Deep knockouts, 179
Blend If, 179–190 Delalio, Luke, 230
HDR images. See HDR images Delete Layer button, 12
panoramas. See Panoramas Device software, 278
Prokudin-Gorskii image, 179–190 Difference mode, 153
Compositional changes, 34–35, 74–76, 231 Digitized image libraries, 202
Contest, collage, 260 Disk space requirements, 31–32
Context-sensitive menus, 12 Dissolve mode, 146
Contrast. See also Sharpening Drop Shadow, 122
for head shot example, 239–240 Drop Shadow/Glow action, 136
sharpen and enhance, 111–115 Duplicate Layer
Conversions methods, 12, 16–17, 279
to black-and-white images, 221–226 using, example, 38–41
Convert to Shape, 127
HDR images, 268–273 E
to Smart Objects, 61–62 Edge burning (flower image), 54–55
Copying layers (Layer Via Copy), 16, 17, 74 Editing images, 232–254. See also Head-shot
Copy/Paste, 74, 279 editing
Copyright applying editing checklist to head shot, 232–254
adding ©, 22 capture, 30, 33
converting copyright layer to Smart Object, compositional changes, 34–35, 74–76, 231
61–62 editing and correction, 31, 35
creating Type layers, 22, 50 editing checklist, 231
symbol, 22 enhancements, 35
Corrections. See Editing images evaluation, 30, 34–35, 230, 233–235
Create a New Group button, 12, 44–46 noise reduction, 94–102
Create a New Layer button, 12, 16, 279 nondestructive, 4

287

Index

Editing images, 232–254. See also Head-shot supported file formats, 36
editing (Continued) Fill
outline for, 30–36 control (Layers palette), 9
process, 92 Fill command (Edit menu), 94–95, 280
purposing and output, 31, 35–36 layers, 13, 17
RAW images, 232–233 vs. Opacity, 140
setup for, 30, 31–33 Filtered color, 211–216
sharpening. See Sharpening Filters
Soft Focus, 105–109, 151, 239–241, 252–253 Add Noise, 95, 100, 282
Effects basics, 281, 283
basics of Styles and, 122–127 blur radius, 24
Bevel and Emboss, 123 Gaussian blur, 24–25, 96, 283
Color, 123 Unsharp Mask, 113, 164–165, 283
combining manual effects and styles, 134–140 Fingerprint of light, 66–67
Drop Shadow, 122 Flatten Image command, 20, 280
Gradient, 123 Focus, soft. See Soft Focus
Inner Glow, 122 Foreground/background swatches, 282
Inner Shadow, 122 Freehand tools, 281, 282
manual, 130–132 Functions (Photoshop), 281
Outer Glow, 122 Functions, essential (Photoshop), 278
Pattern Overlay, 123
Satin, 123 G
Shadows, 122 Gaussian blur
Stroke, 123 basics, 283
summary, 140–141 obliterating noise with, 96
Visibility toggle, 125–126 radius for, 24–25
Enhancements. See Editing images Gradient, 123
Enhancing Gradient Editor, 171
color, 110–111 Grayed out menu options, 12
color/tone, example, 102–104 Grayscale images. See Black-and-white images
Equalize Histogram (HDR conversion method), 269 Grayscale layers, 157–159
Evaluation of images, 30, 34–35, 230, 233–235 Grouping layers
Exclusion mode, 153 basics, 14, 42–47
EXIF metadata, 231 Create a New Group button, 12, 44–46
Expanding/collapsing view of groups, 42–45 expanding/collapsing views, 42–45
Exposure and Gamma (HDR conversion method), for head shot example, 242–244
269 Layer Groups, 14
Exposure for HDR images, 266
Eyedropper tool, 102, 282 H
Hard Light mode, 151
F Hard Mix mode, 153
Feathering, 78, 273 Hardware
Files monitor calibration, 31, 278
on CD. See CD (included with book) setting up, 31–33
creating new, 170, 205, 279 HDR conversion methods
File Info, 231 Equalize Histogram, 269

288

Index

Exposure and Gamma, 269 Add to Sample tool, 103, 193
Highlight Compression, 269 adding color enhancements, 110
Local Adaptation, 269 adjusting, 55
HDR images commands, 281
automated conversions, 268–269 creating color-based mask, 192–193
basics, 264–265 desaturating shadows, 239, 240
capturing/creating, 265–266 enhancing natural color/tone, 102–
creating in Photoshop, 266–267 104
exposure for, 266 separating color image into RGB, 216–220
manual conversions, 269–273
Head-shot editing. See also Editing images I
applying editing checklist, 232–254 Icons
Color Balance, 237 layer types, 18–19
corrections, list of, 235 Layers palette, 9–12
cropping image, 237–238 Image Size command, 280
enhance contrast, 239–240 Images
evaluating image, 230 cleaning up, 93–94
eyes/mouth corrections, 248–249 creating new, 170, 205, 279
general editing steps, 231 editing. See Editing images
Levels corrections, 235–236, 249–251 evaluating. See Evaluation of images
lighten/soften hair, 252–253 isolating components, 74–81
masking, 242, 244–245, 249 separations. See Separations
matching tone of face/chest, 244–246 Inner Glow, 122
neck/jawline corrections, 246–248 Inner Shadow, 122
saturation adjustments, 239–240 Input devices, 31
sharpening, 242 Inverse command, 102, 280
skin tone corrections, 238–239 Isolating Image Objects, 74–81
softening, 239–241 Isolation, enhanced, 91–120
summary, 254–255 Isolation techniques. See also Masking
Healing tool adding layers for change, 81
basics, 282 Color Balance, 86–87, 88, 185, 188
for head shot example, 248 correction in Adjustment layers, 66
manual sharpening, 115–118 isolating components of image objects, 74–81
simple layer repair, 82–85 Levels corrections, 66–74, 185, 187, 235–236
Help (Photoshop), 2, 278 simple layer repair example, 82–85
Heroics, imaging, 34, 35 summary, 87–89
Highlight Compression (HDR conversion method),
269 K
Highlighting/selecting layers, 43–44, Keystrokes, about this book’s notation for, 23
48 Knockouts, 177–179
Histogram
Equalize, 269 L
Levels, 67–72, 185, 187, 236 Layer Actions.atn, 132
History palette, 74, 109 Layer-based workflow, 29–63
Hue mode, 154 Layer_Effects.atn, 132
Hue/Saturation Layer from Background method, 17

289

Index

Layer icons, 18–19 summary, 166–167, 280
Layer management useful/commonly used, 155
clipping layers, 52–55 Vivid Light mode, 152
creating layers, 12, 16–20, 23, 37, 279 Layer Opacity, 9
creating layers via copy, 16, 17, 74 Layer Opacity commands, 280
grouping layers, 12, 14, 42–47, 242–244 Layer Palette buttons, 8–12
highlighting/selecting layers, 43–44, 48 Add Layer Mask, 11
introduction, 29–30 Add Layer Style, 11
linked layers, 56–60 Blending Mode, 9
merging layers, 47–50, 280 Close Palette, 9
moving/activating layers, 51–52 Create a New Group, 12
naming layers, 37–41 Create a New Layer, 12
outline for image editing, 30–36 Delete Layer, 12
Smart Objects, 60–63 Layer Visibility Toggle, 10
summary, 63 Layers Palette menu, 10, 16
Layer modes Link Layers, 10
behavior of, 144 Lock All, 10
Color Burn mode, 147 Lock Image Pixels, 10
Color Dodge mode, 149 Lock Layer Positions, 10
Color mode, 154, 156–162 Lock Transparent Pixels, 10
Darken mode, 146 Minimize Palette, 9
Darker Color mode, 148 New Adjustment Layer, 11
Difference mode, 153 Resize Palette, 12
Dissolve mode, 146 Layer Properties, 23, 40
Exclusion mode, 153 Layer stack. See also Layers palette
Hard Light mode, 151 adding layers, 23
Hard Mix mode, 153 basics, 3–4
Hue mode, 154 Layer Style dialog, 125
Lighten Color mode, 150 Layer types
Lighten mode, 148 Adjustment, 13. See also Adjustment layers
Linear Burn mode, 148 Background, 13, 14, 17, 52–54
Linear Dodge mode, 150 Clipping, 14. See also Clipping layers
Linear Light mode, 152 Fill, 13, 17
Luminosity mode, 155, 156–162 Groups, 14. See also Grouping layers
Multiply mode, 147 Smart Objects, 14, 60–63
Normal mode, 145 Type, 13, 17, 52–54
occasionally used, 155 Video layers, 14
Overlay mode, 150 Layer Via Copy method, 17
Pin Light mode, 152 Layer Viewing preferences, 15–16
rarely used, 155 Layer Visibility Toggle button, 10
Saturation mode, 154 Layers. See also Layer management; Layer modes
Screen mode, 149 activating and moving, 51–52
sections of Mode menu, 166–167 basics, 2–7
separating color/tone, 156–162 copying, 16, 17, 74
sharpening calculations, 162–165 grouping, 42–47
Soft Light mode, 151 linking, 56–60

290

Index

logic of, 36 M
merging, 47–50 Magic Wand tool, 99, 282
moving/activating layers, 51–52 Managing layer styles, 129–130
naming, 37–41 Masking
palettes and menus, 7–12 Add a Mask button, 11
selecting, 43–44, 48 adding color enhancements, 110–111
Smart Objects, 60–63 adding soft focus, 105–109
types of, 13–15 vs. Blend If, 177
Layers, creating Blend If as mask, 190–191
basics, 16–18 cleaning up images, 93–94
exercise, 20–27 color-based, 191–199
when to create, 36 correction list for, 92–93
Layers palette creating color-based mask, 191–199
features found on, 8–12 enhancing natural color/tone, 102–105
icons, 9–12, 18–19 for head shot example, 242, 244–245, 249
opening, 7 Layer Mask commands, 281
Layers Palette menu, 10, 16 Masks palette, 273
Layers Panel Options, 15 options, summary, 118–120
Levels corrections reducing image noise, 94–102
basics, 66–74, 281 sharpen and enhance contrast, 111–115
for color, 70–73 sharpening calculation using Layer Modes,
for head shot example, 235–236 162–165
for ship’s mast example, 185, 187 simplest form of, 91–92
Levels slider changes, 67–74, 185, 187, 235–236, summary, 118–120
249–251 Unsharp Mask filter, 113, 164–165, 283
Leveraging Photoshop Layers blog, xxiv Unsharp Mask Layer, 162–165
Libraries vector masks, 127
digitized images, 202 Wild Type Effectz, 138
Styles, 127, 129–130 Masks palette, 273
Lighten Color mode, 150 Memory requirements, 31–32
Lighten mode, 148 Menus, 8, 12
Light’s Fingerprint, 66–67 Merge Layers command, 48, 280
Linear Burn mode, 148 Merging layers, 47–50
Linear Dodge mode, 150 Minimize Palette button, 9
Linear Light mode, 152 Modes. See Layer modes
Link Layers button, 10 Monitor calibration, 31, 278
Linked layers, 56–60 Move tool, 5, 282
Load actions, 132–133 Moving image components, 75–76
Local Adaptation (HDR conversion method), Moving layers, 51–52
269 Multiply mode, 147
Local contrast, 114 MyName layer, 4–6
Lock All button, 10
Lock Image Pixels button, 10 N
Lock Layer Positions button, 10 Naming layers, 37–41
Lock Transparent Pixels button, 10 Nested groups, 44–45
Luminosity mode, 155, 156–162 New command/New dialog, 170, 205, 279

291

Index

New Layer commands, 20, 279 filters (recommended list), 281, 283
New Layer via Copy command, 74 freehand tools (recommended list), 281, 282
Noise functions (recommended list), 278, 281
Add Noise command, 95, 100, 282 Help, 2, 278
reducing, 94–102 setting up, 31–32
Nondestructive editing, 4 versions, xxiv, 12
Normal layers, compared to background layers, 14 Photoshopcs.com, 28
Normal mode, 145 Pin Light mode, 152
Polygonal Lasso tool, 78, 80, 196, 246, 282
O
Preset Manager for Styles, 129
Opacity
Prokudin-Gorskii images, 202–204
adjusting (for soft focus), 107–108
Prokudin-Gorskii, Sergei Mikhailovich, 202
control (Layers palette), 9, 280
Properties (Layer Properties), 23, 40
corrections, 73–74
Purposing and output of images, 31, 35–36
vs. Fill, 140
for translucent type, 138 R
Open command (File menu), 279 Radius, blur, 24
Optimizing images for output, 36 RAM, 31
Options bar, 22 RAW images, 232–233
Outer Glow, 122 Rebuild edges, 117–118
Output and purposing, 31, 35–36 Repairing with layers, example, 82–85
Output Levels slider changes, 67–69, 236, 249–251 Resize Palette button, 12
Overlay mode, 150 RGB components
creating color from black and white, 202–210
P
creating filtered color, 211–216
Packaging images for output, 36
Prokudin-Gorskii images, 202–204
Paintbrush tool, 110, 115, 282
separating color image into, 216–221
Palettes
RGBL Components action, 220, 222, 224, 233
Actions palette, 132–133
Richard’s Custom Black-and-White actions,
Adjustments palette, 13, 17, 26
220–221, 224
Character palette, 52–53
described, 8 S
History palette, 74, 109 Sample Size option, 102
Layers palette, 7–12, 18–19 Satin effect, 123
Masks palette, 273 Saturation. See Hue/Saturation
Styles palette, 124, 128–129 Saturation mode, 154
Panoramas Saving
creating, 262–264 images via Save As command, 279
using automated tools, 264 Save for Web command, 279
Paste/Copy, 74, 279 styles, 127–128
Pattern Overlay, 123 supported file formats, 36
Photomerge, 264 Scanners, 32, 33
Photoshop Screen mode, 149
commands (recommended list), 278–280 Selecting/highlighting layers, 43–44, 48
expectations for tools, 275–276 Selection, complex, 97–99
exploring new tools, 276–277 Separations
external applications (recommended list), 277–278 action set (on CD), 220–221, 222, 224

292

Index

CMYK, 220 Styles palette, 124, 128–129
of color image into RGB components, 216–221 System requirements, 31
color/tone, using modes, 156–162
custom black-and-white conversions, 221–226 T
history of Prokudin-Gorskii images, 202 Text. See Type layers
RGBL Components action, 220, 222, 224, 233 Threshold function, 182–183
summary, 226–228 Thumbnail Size preference, 15–16
Sets. See Grouping layers Tone
Setup for image editing, 30, 31–33 correction for flowers example, 102–105
Shadows, 122 evaluating images, 34, 231, 233
Shallow knockouts, 178–179 separating color/tone using modes, 156–162
Shapes, Convert to, 127 Tool bar, Background/foreground swatches, 282
Sharpening Transform command, 280
calculations and modes, 162–165 Translucent type, 134–138
enhancing contrast, 111–115 Type layers
in head shot example, 242 basics, 13
manual, 115–118, 242 clipping text/background, 52–54
oversharpening, 112 creating, 17
rebuild edges, 117–118 Type tool
Unsharp Mask filter, 113, 164–165, 283 copyright layer, 22, 50
Unsharp Mask Layer, 162–165 type and sizing, 52–53
Signature layer, creating, 4–6
Skin tone corrections, 238–239 U
Smart Objects, 14, 60–63 Underlying Layers and Blend If, 174–175
Snapshots Undo command (Edit menu), 48, 59, 279. See also
History palette, 74 History palette
Snapshot layers. See Composite layers Unsharp Mask filter, 113, 164–165, 283
Soft Focus Unsharp Mask Layer, 162–165
in head shot example, 239–241, 252–253 Use Previous Layer to Create Clipping Mask
soft focus effects, 105–109 checkbox, 26, 27, 56, 245
Soft Light mode, 151
V
Softening. See Soft Focus
Vanishing Point files, 86
Software
Vector masks, 127
device, 278
Video layers, 14
external applications, 277–278
Visibility toggle for Layers, 125–126
setting up, 31–33
Vivid Light mode, 152
Stroke effect, 123
Styles W
ActionFx-CS4_Set_01.asl, 129 Ward, Al, 129
adding, 11 Web sites
applying, 124–127 Adobe, 31
combining manual effects and, 134–140 for digitized images, 202
libraries, 130 for this book, 28, 167, 228, 260
managing, 129–130 Wild Type Effectz layer, 124, 131, 134–138
personalized, 127 Workflow, layer-based, 29–63
saving, 127–128

293

Photoshop Cs4 Layers Book

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