Screen Mode
Ben Willmore
Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Screen Mode
Well, now we're gonna use the opposite of multiply mode. That means we're going to use the opposite of ink. Ink can Onley darkened things. That means the opposite of ink would be something that could Onley Brighton something. And there's only one thing I can think of that no matter what, will brighten something. And that is light. So the blending mode that acts like light is called screen mode. Remember, I didn't name him. I wouldn't have chosen these names, but screen mode acts like light. So imagine we have the image that's underneath, being projected using light, like you got a projector to watch a movie with its projecting on the wall. Then you take a second projector, and in that second projector you load this image and you shine them both down to the same screen. So this goes right over the other one. Well, think about what that would do if you're using a projector. How much light would that projector put out to create? What's over here? What's black? It would try to put out none...
, and that as you get brighter than black, it would put out a little bit more light a little bit more light, bunch of light. And once you get over here, we put out so much light that it would over take whatever it's on the screen already. So let's set this to screen mode and see what's happening in screen mode. Black disappears, and it's only things that are brighter than black that have the potential of brightening your picture. And so I think of screen mode is the opposite of Multiply. It acts like light. So let's see if we can figure out a few uses for screen mode. Well, first, here I have some lightning, and also I should mention we're going to use the other modes that are grouped in with it. We have some lightning. I think we'd be good here. We have some fireworks that will be good. Let's just open a few of these. I want to combine this image of fireworks with this image of the Eiffel Tower. If you ever want to quickly load more than one image into Photoshopped, select them here in bridge. Or, if you use adobe light room, you can do it there, too. Enbridge, go to the tools menu, choose photo shop and then choose load files into Photoshopped layers. If, on the other hand, you organize your pictures using Adobe Light Room, there is not a tools menu. Instead, there's a photos menu in the sub menu is called Edit in So Photos Edit in. And then you'd find these choices, including load files into photo shop players. That's going to give you a brand new document in photo shop, and you should end up with one layer for each of the images. I'm surprised at the appearance of this layer, though, because it does not look like the picture I was opening. So I'm a little confused. Let me see if I can reopened that separately. If you look at this image, that's what the layer should look like. I'm just gonna double click on it and I'll choose open image. It's raw file and all. Guess I'll drag that one over. I'm not sure why it ended up looking the way it did. There is usually, if you load files into Photoshopped layers, it shouldn't change the appearance of those layers, and I'm not certain White did hear. The blending mode was set to normal, and that's the first time I can remember things just looking odd when they shouldn't have. Anyway, somehow you get those images together in a single file. Usually load files into Photoshopped layers is bulletproof, but in this case is the first time I've ever seen it produce an unpredictable results. All right, so if in screen mode it acts like light, what do we have here with fireworks? It's just like as long as the background surrounding it out here is black, then black disappears in screen mode, so that shouldn't even show up. But we should get all of this fireworks. Now the problem is down the bottom, we have some extra information, and if it's at all brighter than black, that is going to end up being used. So all I'm gonna do is grab my paintbrush tool and I'm gonna paint with black. And I'm just gonna paint across this bottom portion where it's not fireworks. And since black disappears, that will be ignored Now. Then I'm gonna change the blinding mode of this layer down here to screen mode, and now it just combined with the image that's underneath the areas that were black just simply disappeared. Anything brighter than black is brightening this picture, and so I'm gonna act as if that fireworks was being launched from the tower. Maybe from this upper level that's here. Put it right about there. Now, the only thing have to be careful with Here's in screen mode. Anything brighter than black will brighten my picture in, therefore, if that background is not black. Instead, it's a dark shade of gray. It's going to lighten the picture. And so if I were to move it over where you could see the edge of the picture, you might be able to see, uh, an edge where it's no longer brightening the background. If that was the case, I don't think it is. In this case, I would adjust that layer using levels. In this time, I would bring in the upper left slider, the upper left slider forces areas to black, and I'd bring it in until the background became fully black. Now you can try to use other blending modes that are found in here, and you'll get different results if I use lighten mode. That means Onley allow the areas that are brighter than what's underneath to show up, and so I'll get a slightly different results. If you look at where the tower is bright, there might be portions of the tower that brighter than the fireworks. In enlightened mode, those areas would no longer be covered up. I think I actually prefer light mode in this case because it gives me a darker background for my fireworks. I could also try Color Dodge not quite into that one. Ah, here, linear dodge and lighter color. So for me, in this case, I like lightning mode. Let's use this on some other images. Closing out what we got here. I'm gonna come up here and assume fireworks. All right? That fireworks we just did for what it says. Lightning man, I'm gonna select all these. And let's hope that load files into Photoshopped layers will act a little better this time. Because I wanted just to look like those images and simply load them into separate layers. If you look in my layers panel, you'll see our results. Well, what if I want it to look like there was a lot more lightning than there? Waas? Well, if I turn off the top layer, look at the tree line that's there and notice that it moved, and that's because I was shooting hand held. I was not on a tripod would be much better if I would have been on a tripod. I'm gonna select all these layers. I got the top layer already selected. Ah, hold shift and click on the bottom layer, and I want to get the tree line to line up in every image. If it all possible to do so, select the layers. Go to the edit menu and there's a choice called Otto A Line Layers. It'll ask me for options, but I'll just use auto click. OK, and that's gonna look for things for a content that looks similar in each layer and try to line them up in there for my tree line will hopefully be more consistent. So if I turn these off one at a time, you see the tree lines in the same position. Then I want to get more lightning in there. So all I'm going to do is change the blending mode of the top layer, and I'm interchange it to the choice called Lighten. I'm not going to change it to screen mode because screen mode would take the brightness of the sky, however much light was in it and add it to the light that's underneath, doubling up how bright that area is. But when I use lightened mode, it's just comparing the layer. I'm working on to what's underneath enough inning areas brighter. That's what shows up. So in here, I'm gonna choose lightened mode for each of these layers, and you can even select multiple layers at one time. Here I'll click on the top layer, hold shift, click on the bottom layer, then change them all the light in mode now because I was shooting hand held, I'll have to crop this image to finish it off. So grab my crop tool and I'll pull it in until I see the edges here press return or enter, and there's a few, like right over here. They're getting cut off because that was the edge of the picture. I could figure out what layer is that. I didn't mean to use that tool again. I could figure out what layer is that just by glancing in my layers panel looking the right edge of the layers and I can see which one doesn't go all the way across its this one. I might click on that layer and then add a layer mask. We have a whole session on layer masks. If you want Teoh, learn about them. But a layer mass is just going to temporarily hide a portion of a layer wherever I paint with black, so I could come in here then it just trying to hide part of that layer so you don't see that distinct edge. So now let's compare the look of a single layer to a look of all of these layers. Put together enlightened mode in your layers panel. There is a trick for hiding all but one layer in what it is is you. Put your mouse over the eyeball icon for the layer you want to keep you Hold on the option key on a Mac. That's all time Windows and click on that eyeball icon. That means hide everything but this So there's my single capture, and then I'm gonna option Click the eyeball a second time, and there's all of them put together, and so often times it's hard to end up getting a lot of lightning in a single shocks that happens so fast, and there might be a huge pause before another lightning strike happens. If you do a completely long exposure like 1/2 hour long, the problem is your picture ends up being noisy. But if you take individual shots whenever a lightning occurs and then combined them like I just did, you can end up with a lot of lightning, but very little noise. And so that would be an advantage. But that is lightened mode. Another example of lightened mode would be here. I have a waterfall shot in Iceland. I'm gonna take all of those images, load them into layers, and what I want to do is make it look as if there's a lot more water going down the waterfall. And to accomplish that, all I'm going to do is use lighten mode, because if you think about it and it looks like a few of these images weren't adjusted the same. But if you look at my waterfall and you see where this white area is right here, where the water is kind of concentrating well in the next shot, it's not gonna be in the exact same spot where we have that thicker white water. Instead, it might be in this area. And if it ISS so I put it on topping, put it in lightened mode. It'll be brighter than its background and therefore it will fill in. So if I turn this layer off and go to the next one, you see the white Waters in a different position. So all I'm going to do here is I'm gonna select a bunch of these layers and I'm gonna set him to lighten mode. And now let's compare that to a single exposure. There's one zoom up on my waterfall in There's multiple. Do you see how it's starting to fill in some of the water? Well, and that was only a few of the layers. I have a whole bunch of layers in here. I could select rooms. And if the blending mode menu is great out, it means one year layers has its eyeball turned off. So I had to turn on a few. There we go. Look at how much water now is coming down that waterfall. It's absurd amount compared to a single image, and you could just toggle each one off and decide which ones you want. to use. But by taking multiple photographs, we have the versatility of being able to make it look like there's more water. We could also do the opposite. If I want to make it look like there's less water, then why not set them all to darken mode? The only problem. There is a few of these, the exposures darker, so it's gonna dark in the background. I might hide the ones above in on. It's gonna set it too dark and mode, and now it looks like very little water is coming down. There's lightened mode. There is dark and mode. I often use darkened mode with waterfalls because if there's a lot of mist coming off the waterfall in its obscuring your view of something on the sides, I'll end up using dark and mode, which will break through that missed and allow the walls that are on the sides of the waterfall to be more prominent. And so I could actually have two sets of these layers, one in screen mode that I put just where not screen lightened mode, right? Put just where the waterfall is in ah whole, another set in darkened mode that I use on the sides. Then let's figure out other blending modes that combine those two categories we've talked about so far. So let's open up a few images, and I'm gonna put a simple layer above this, just like we had before with Grady Int. And let's review here the 1st 2 general sections in darkened mode. There was a neutral color, and it was white because you can't darken anything using white. And so in all the modes group together with dark and white disappears in every mode in there can only dark in your picture. The opposite of that are the modes found in one section down those air, the lightened modes, and in those modes, black disappears. Anything brighter than black has a potential of brightening your picture.
Class Materials
Ratings and Reviews
Noel Ice
I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
a Creativelive Student
Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!