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Adobe Photoshop CC Bootcamp

Lesson 29 of 118

Color and Luminosity Blend Modes

Blake Rudis

Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

29. Color and Luminosity Blend Modes

Lessons

  Class Trailer
Now Playing
1 Bootcamp Introduction Duration:16:22
2 The Bridge Interface Duration:13:33
3 Setting up Bridge Duration:06:55
4 Overview of Bridge Duration:11:29
6 Introduction to Raw Editing Duration:11:00
8 Global Tools Part 1 Duration:16:44
9 Global Tools Part 2 Duration:20:01
10 Local Tools Duration:22:56
12 Toolbars, Menus and Windows Duration:25:07
13 Setup and Interface Duration:11:48
14 Adobe Libraries Duration:05:57
15 Saving Files Duration:07:39
16 Introduction to Cropping Duration:12:10
20 Cropping for Print Duration:07:34
22 Introduction to Layers Duration:08:42
23 Vector & Raster Layers Basics Duration:05:05
24 Adjustment Layers in Photoshop Duration:27:35
25 Organizing and Managing Layers Duration:15:35
28 Soft Light Blend Mode Duration:07:34
31 Introduction to Layer Styles Duration:11:43
34 Brush Basics Duration:09:22
35 Custom Brushes Duration:04:01
36 Brush Mask: Vignettes Duration:06:58
38 Brush Mask: Hue & Saturation Duration:07:52
39 Mask Groups Duration:05:52
40 Clipping Masks Duration:04:11
41 Masking in Adobe Camera Raw Duration:07:06
42 Practical Applications: Masks Duration:14:03
43 Introduction to Selections Duration:05:42
44 Basic Selection Tools Duration:17:41
45 The Pen Tool Duration:11:56
46 Masks from Selections Duration:04:22
47 Selecting Subjects and Masking Duration:07:11
48 Color Range Mask Duration:17:35
49 Luminosity Masks Basics Duration:12:00
50 Introduction to Cleanup Tools Duration:07:02
51 Adobe Camera Raw Duration:10:16
52 Healing and Spot Healing Brush Duration:14:56
53 The Clone Stamp Tool Duration:10:20
54 The Patch Tool Duration:06:38
55 Content Aware Move Tool Duration:04:56
56 Content Aware Fill Duration:06:46
57 Custom Cleanup Selections Duration:15:42
59 Text Basics Duration:15:57
60 Shape Basics Duration:07:00
61 Adding Text to Pictures Duration:09:46
62 Custom Water Marks Duration:14:05
63 Introduction to Smart Objects Duration:04:37
64 Smart Object Basics Duration:09:13
65 Smart Objects and Filters Duration:09:05
68 Smart Objects and Composites Duration:10:47
70 ACR and Lens Correction Duration:09:45
71 Photoshop and Lens Correction Duration:14:26
72 The Warp Tool Duration:11:16
73 Perspective Transformations Duration:20:33
76 Making Your First Action Duration:03:49
78 Adding Stops to Actions Duration:04:01
79 Conditional Actions Duration:07:36
80 Actions that Communicate Duration:25:26
81 Introduction to Filters Duration:04:38
82 ACR as a Filter Duration:09:20
83 Helpful Artistic Filters Duration:17:08
84 Helpful Practical Filters Duration:07:08
85 Sharpening with Filters Duration:07:32
86 Rendering Trees Duration:08:20
88 Introduction to Editing Video Duration:06:20
89 Timeline for Video Duration:08:15
90 Cropping Video Duration:03:34
91 Adjustment Layers and Video Duration:05:25
92 Building Lookup Tables Duration:07:00
94 ACR to Edit Video Duration:06:10
95 Animated Gifs Duration:11:39
97 Black, White, and Monochrome Duration:18:05
98 Matte and Cinematic Effects Duration:08:23
100 Gradients Duration:04:21
101 Glow and Haze Duration:10:23
103 Brightening Teeth Duration:10:25
105 Cleaning and Brightening Eyes Duration:16:58
106 Advanced Clean Up Techniques Duration:24:47
108 ACR for Portraits Pre-Edits Duration:21:27
109 Portrait Workflow Techniques Duration:18:46
111 Landscape Workflow Techniques Duration:37:36
113 Composite Workflow Techniques Duration:34:01
114 Landscape Composite Projects Duration:24:14
115 Bonus: Rothko and Workspace Duration:05:15
117 Bonus: The Mask (Extras) Duration:05:18

Lesson Info

Color and Luminosity Blend Modes

So color luminosity. The way I've got this diagram set up for you, it's showing you the difference between luminance and hue saturation in what we would call the separation of a pixel. So I'm basically separating the luminance value from the color value of a gradient, essentially. So the luminance value of that gradient, the darkness, the lightness and darkness of that and then the hue saturation or the color of that. So I'm gonna turn this layer on right here. And this layer is just a salmon colored layer that if I turn that to color, I have to select the right layer, we select this layer. Turn that to color, notice what happens. All of the underlying luminance value stays the same just like we talked about in that presentation. All of the underlying luminance value stays the same. We still have white, we still have black. And they are actually unchanged. They get no color data added to them. Pure white, pure black, no color added to it. But anything that's transitioning in between, i...

s gonna get a slight color cast or that salmon color cast that we put on the top. But also notice the colors at the bottom. When we set this to color, its overriding all the color in the image and saying hey, I know that you were green before, but now you're gonna be some version of salmon. If its a dark color, like if we turn this off, that blue, becomes a very dark salmon value. If we think about this in terms of the gradient map that we talked about before, remember how we talked about the gradient map, and the gradient map was our good black and white conversion that allowed us to target areas of, to target the colors in our image and make them lighter or darker based on their qualities. The same concept is happening here but applying color to it. So when we take the color of the salmon, and apply it to our entire image, this entire image, the luminance value stays the same. And all the colors take on the hue of that salmon color. So if we change this back to color, we can really control this really well. It doesn't seem like it but this is a really great way to do color gradient because we can take any color that we want, we can throw it over top of our image and we can just lower the opacity of that and get a nice subtle color cast over our image. So if I drop the opacity of this, we're still set to color, but if i change this to something like 50%, you see how, now, it is still taking it into consideration all the luminance value but its also allowing some of those colors underneath to mix with it. So think of this in terms of an artist with a palette, we're now adding a little bit of that blue to that salmon and mixing it together. We're adding a little bit of that yellow to that salmon and mixing it together. Because now we're set at 50%. Now on the flip side of that. If I change this to luminosity, look what happens. When we're placing all the luminance value with the luminance value of that color, which can be kind of hard to wrap your head around. Before when we put color on there, all of our luminance values underneath showed through, right? But when we changed this to luminance we're telling everything underneath there to take on the luminance characteristics of the color salmon. Therefore, we don't see white, we don't see black, we don't see mid tones. They all become whatever that color is. If we were to change this color, if we were to just get a brush and maybe change this with blue and brush this whole thing with blue, see the difference now. Blue's a darker color than that salmon was, change this back to normal. It's all blue. When we change this to luminosity, everything is taking on the luminance value of that color. So this is why I don't typically color grade with the luminance blend mode. The luminance blend mode is something I would reserve for our curves adjustment layer. Like I said before when we were talking about curves and how the luminance blend mode can be a great way to separate or the luminosity blend mode, sorry, the luminosity blend mode can be a great way to separate the color that's happening with that curves adjustment layer from the luminance that's happening with that adjustment layer. So let's go and take a look at a little bit of a a practical application of this one. So, let me go ahead and just add a solid color fill. This is typically, this is my favorite way to color grade between the solid color fill and the gradient map, these two are awesome for color grading. And we'll just change this to a let's say a orange-ish color, like that, orange-ish brown color. If I change this blend mode to color, notice how all of the luminance values of this image start to show through that color pretty well. If I drop this opacity down, something like 28%, doesn't that give a nice little color grade? Anyone watch a lot of tv in here, I know I do with my wife (laughs) The color grading, happens on everything that you watch, specifically things that have very good production quality. Movies, anything you go watch at the movie theater, will typically be color graded because you've probably done this, you've probably maybe gone to Olympic National Park, you take a video of it. You're like, aw this place is so gorgeous, you're taking a video of it and you get home and you plug it in and you look at your video and you're like man, this is nothing like that travel video I saw. Well, its the same data, essentially you're both taking in the same data when you record that data right? The only difference that's separating your video from their video might be the fact that they color graded things to make you feel something when you looked at it. And that's what we do with color grading. We wanna make the viewer feel something. We wanna transition that emotion into them and if we ... The perfect example of this is like my mom, God love her, she's a photographer, she got me into photography and she has been probably been taking pictures for, I hope she's not watching this (laughs) she's probably been taking pictures for you know, 20, 30 years, she goes on a lot of different photo excursions, she takes pictures of all of her different travels. She brings 'em home, she's says, check out these pictures, check out these pictures. And she's got a really good eye. But the transition that she's missing right there is the difference between having a good eye and being able to make me feel what you felt when you were there and that's what color grading does. And that's what we wanna do with color grading. So if you wanna just a cheat sheet, color fill layer, set to color, drop it to anywhere between 15% 25% opacity and now you can start manipulating the viewer to feel something. Perfect example, let's turn this layer off. This is the normal photo. Turn this layer on, it starts to feel more like what I thought Paris was gonna look like. I thought Paris was sepia toned (laughs) its not, apparently (laughs) so but this is that look and feel you get from movies that you watch that are filmed in Paris. If I double click on this color fill layer, that's why I say use a color fill layer, it's not permanent and because its adjustment layer, it has no bounds. It goes all over the place and you can change it at any time. It's a calculation layer. So let's change the calculation a little bit. Double click this, change it to something like a blue color. Now everything feels a little bit colder. You as the viewer, probably wouldn't appreciate this image, as much as you would appreciate the one before. Why is that? Its because I'm using color to make you feel something and in using these things in conjunction with these apps or these applications that we're talking about with, you know, opacity and fill and color, now we're starting to take just a regular color fill layer that before, before I learned all this stuff, I just said why would I ever fill my landscape image with a color? Oh I probably wouldn't until I jumped into some of the things that make that thing important. Now by itself, I just drop the opacity of this, yeah, I'm getting a color effect, right? But its not preserving what? Its not preserving my luminance, its not preserving the luminosity of the underlying layers. So I change this to color, watch how those blacks just come flying through. So its not just drop the opacity. Its drop the opacity and also bring in one of those blend modes with it, especially color. Soft light can do something very similar. If we bring up the opacity a little bit on soft light. Soft light makes light things lighter, dark things darker. That's all we talked about in terms of soft light. But also what soft light does, it takes into consideration those colors so because that color and that luminance value is on the lighter color area, its going to make the whole image a little bit lighter but also add a little bit of color to it too. So soft light can also be a really good way to color grade your image. You're just gonna have to increase the opacity a little bit. So that was soft light. That was color actually, let's take a look at how luminosity plays in. We talked about color already, let's talk about luminosity. So I'm gonna go ahead and grab a curves adjustment layer, which would be perfect for this image. And what I was telling you about before, if we pull this down, we're not just getting an increase or decrease in luminosity, right? We're getting increase and decrease in luminosity plus an increase and decrease in all of the colors because we're set to rgb, this is affecting the luminance values but its affecting the red, green and blue, not necessarily individually but all together. So there is going to be some type of color cast that comes along with that tonal adjustment. But if I change this blend mode to luminosity, now all we get is the luminance transition of that curve. We've separated all the color of it. We've stripped all the color out of that curves adjustment layer and saying no, you cannot affect the colors in my image. You're only job, and your priority right now, is to focus on the luminance values of my photograph. So I can make the darker areas darker, without introducing a color cast. If I bring this up to normal, we get a slight color cast. And it might not be something that you want. So if you're using Adobe Camera Raw, I really like Adobe Camera Raw and I think it has its place to make my images great before I come in to Photoshop but look at the curve at Adobe Camera Raw, can it separate the luminance values from the color values, no. All it can do is manipulate that curve. So there's certain things that when we jump into Photoshop and we realize, wow I'm getting access to things that I never even thought of. Some people call me like a pixel peeper (laughs) I don't really consider myself a pixel peeper 'cause I don't zoom in like this to peep at my pixels but, you know, if you wanna call that a pixel peeper, go right ahead. I like to say, unprecedented control over the process in images. I'm an artist, I want control over everything that happens in my images because now, I can control all the luminance values in here without a color cast. But, on the flip side, if I change this to color, any color data will come through and the luminance stays the same. So if you're color grading with the curves adjustment layer, so if we go and delete that, and delete that. We go in to see the reds, with this set to color, its gonna preserve all the underlying area but its going to make our shadow areas more cyan and its gonna make our highlight areas more red because its set to color, its allowing all the luminance values to remain the same. Again, now we're stripping that curves adjustment layer out. We're saying, okay now curves adjustment layer, let me through another wrench in you. You're not gonna affect the luminance values in my image, you're only going to affect the colors. So can you do that both on the same curves adjustment layer? No, you're gonna have to make two curves adjustment layers. One that will be set to luminosity, one that might be set to color. So don't just say, okay well Blake said color fill is the way to color grade. No, not necessarily because with this set to color, and I go in to say something like blue, I might be able to introduce some more blues or some more yellows into that also and create more of what we call like a cross process type of image, cross process coming from the days of film when we used to process a film in a set of chemicals that didn't belong to it. So, slide chemicals for analog film and so on and so forth. It kind of created this weird type of, it was used a lot in fashion, to get a different look for those images. And again, if we set that to luminosity, its going to allow us to adjust the luminance that are in the color blues that are in the image. So if this is set to, if we just change this entire curve, let's just go ahead and delete this and start with a whole new curve. Done a lot of work here. We'll just do another curve. If I were to change this to blue, and then change this to luminosity, we're now saying that blue is the only color that we're targeting or the blue channel, I should say, is the only color that we're targeting to get lighter and darker, and the yellows remain the same.

Class Description

Adobe® Photoshop CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop. 

Topics covered will include:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.


SOFTWARE USED:

Adobe Photoshop CC 2018

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Robert Andrews
 

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!