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# Photoshop CS Bible @Team LiB - Stacy C.

Stacy C. Photoshop CS Bible @Team LiB - Wiley Publishing, 2004. - 773 p.
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Part IV: Layers, Objects, and Text
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Figure 13-18: Here I have the face layer in front with the gradient set to Screen behind it. Working on the face, I first applied the Overlay mode (top) and then duplicated the face to another layer (middle).
I didn't like the contrast, so I deleted the cloned layer and changed the original to Hard Light (bottom). Vivid Light (V) and Linear Light (J): If Overlay and its ilk combine Multiply and Screen, the next two Light modes combine Dodge and Burn. More specifically, Vivid Light combines Color Dodge and Color Burn, where Linear Light combines Linear Dodge and Linear Burn. Figure 13-19 shows examples. This time, I've reduced the Opacity setting for the gradient layer to 50 percent and brought back the pattern layer, also at 50-percent Opacity but set to Soft Light. Sandwiched in between is the face, set to Vivid Light at top and Linear Light at bottom.
461 Photoshop CS Bible @Team LiB

Figure 13-19: The effect of setting the face to the Vivid Light (top) and Linear Light (bottom) modes. Because the effects are so hot, I sandwiched them between a Soft Light pattern layer and a Screen gradient layer, each with Opacity settings of 50 percent.
I find both modes useful for enhancing contrast, especially when combined with gradients. In Figure
13-20, we have the usual gang: the Blistered Paint pattern at 50-percent Soft Light and the face layer at 100-percent Normal. But this time, I've alternated the gradient layer, fully opaque, between Vivid Light in the first example and Linear Light in the second. In the final example, I cloned the face and set it to Linear Light as well. Both gradient and face set to Linear Light invokes a heightened, haunting effect; cloning the face before applying Linear Light prevents the face and gradient from interacting.
Part IV: Layers, Objects, and Text
462
Figure 13-20: The effects of applying Vivid Light (top) and Linear Light (middle) to the gradient layer. In both cases, the Opacity value is 100 percent. I then cloned the face layer and set it to Linear Light as well (bottom).
Pin Light (Z): One of the simplest modes in all of Photoshop, Pin Light keeps the darkest blacks and the lightest whites, and then makes everything else invisible. For the sake of comparison, the first example of Figure 13-21 shows the gradient layer set to Pin Light. (The face has been restored to Normal.) As you can see, only the very top and bottom of the gradient are visible; otherwise, the tranquil background lies exposed.
463 Photoshop CS Bible @Team LiB

Figure 13-21: After returning the face to the Normal mode, I set the gradient layer to Pin Light (top). Then I cloned the face and sharpened the edges using the Unsharp Mask filter (middle). Finally, I applied the Pin Light mode to keep just the lightest and darkest pixels (bottom).
I find Pin Light particularly useful for modifying edge filters. In the second example of Figure 13-21, I cloned the face to a new layer and applied Filter ® Sharpen ® Unsharp Mask with an Amount of 100 percent and a Radius of 20 pixels. By applying the Pin Light mode, I retained just the lightest and darkest edges of the sharpened layer, as the final image shows. The result is a more subtle effect that still manages to exhibit thick, high-contrast outlines.
Photoshop Hard Mix (L): The first time you apply this new blend mode to an image, you may be inclined to run screaming from your computer and hide under your bed until your screen saver kicks in. Oh, all right, it's not that bad. But the results that Hard Mix produces aren't pretty. Think functional as opposed to beautiful, and you'll be on the right track.
The Hard Mix blend mode combines image layers using the Vivid Light blend mode and then performs a color threshold operation on them. If you like, you can do it manually: Take two layers blended with Vivid Light and press Ctrl+Shift+E (z -Shift-E on the Mac) to merge them. Then switch to the Channels palette and select the red channel to isolate it. Choose Image ® Adjustments ® Threshold. When the Threshold dialog box appears, click OK to accept the default settings. Repeat this process with both the green and blue channels, click the RGB channel item to view the composite image, and there you have it a homemade, do-it-yourself Hard Mix, much like the one in Figure 13-22. I bet right now you're thanking your lucky stars that Adobe has simplified the process by doing it all for you in a single blend mode.