Section 7.2. Using Layers to Make Targeted Adjustments


7.2. Using Layers to Make Targeted Adjustments

You may have already figured this out from the Chapter 6, but not all adjustments can be made with adjustment layers. So you make the adjustment nondestructive by simply merging the layers up to this point into a new layer that is used solely for making that targeted adjustment. There are many other instances in the course of employing the "Milburn Method for Nondestructive Editing" when you will want to do the same thing. Each time one of those instances arises, use the techniques described in this section.

7.2.1. Lifting a Selection to a New Layer

You already know the keyboard shortcut that raises a selection to a new layer, but it's easy to repeat in case you've forgotten it: Cmd/Ctrl-J. Be sure you've selected the layer in the layers palette. This makes a copy of what was inside the selection so you can always restore the target portion of the image to its original state by simply deleting or clicking the Eye icon in the layers palette to turn it off.

You can also save the selection before raising the targeted area to a new layer. Then you wouldn't have to make several selections when you want to raise the same portion of the image to perform a different adjustment on each.

7.2.2. Making a Layer Mask from a Selection

A layer mask can be created either before or after you create the layer. If you make a selection before you select a new layer from the Adjustment Layers icon at the bottom of the layers palette, that layer will be automatically masked. If you create a new layer and later decide you want to mask it, create the selection you want, then click the Mask icon at the bottom of the layers palette.

If a layer mask is already in existence for a layer (because you clicked the Layer Mask icon in the layers palette before you make the selection), you'll see an icon to the right of the layer's image or purpose icon (Figure 7-9). If that icon is all white, you can create a mask by making a selection, inverting it, and then filling with black orif you want the mask to only let in some of the background image or effecta shade of gray.

Figure 7-9. The Layer Mask shown in the layers palette.

NOTE

You may want to go back through your layers once you've finished composing, compositing, and adjusting an image. If you have no reason to keep all of a layer, select what you don't need and delete it. You'll save a wee amount of disk space. However, be aware that it's not worth the savings if you think you'll ever need more of that layer should you modify or replace its mask. "Empty" layers can be a good reminder that there's more that need to be done later. This can be handy if you need to get a "good enough" version of the image to the client or subject before you continue to work on it.

Layer Mask Pros and Cons

Like just about anything in life, there's an upside and downside to using layer masks:

  • Pro: Just in case you might wonder why you should bother with a layer mask instead of just retrieving a saved selection, well that's what this book is all about. If you use a mask on an adjustment or to make a partial layer, you can change the settings or the effect on that layer without affecting the whole image. You could even adjust the partial layer nondestructively simply by adding a clipping mask to it. Such adjustments can always be changed at any time during the remaining construction and adjustment of the image.

  • Con: All the adjustment layers will take up a somewhat larger amount of disk space. Of course, derived partial layers will add a significant amount to file size, but not as much as if you had to work with the whole layer.


7.2.3. Using Blend Modes on Regional Adjustment Layers

As we saw in Chapter 6, the Blend Mode function in Photoshop provides nearly endless possibilities. How a given Blend Mode is applied to an adjustment layer will depend on both the type of adjustment layer and the settings that are being used. Suffice it to say, it never hurts to try the following steps because you can always come right back to where you started. Meantime, you may create a miracle. Once you've created your masked adjustment layer and made the settings you desire:

  1. Drag the Layer's palette tab up to the palette doc, but make sure to then click the tab so that the palette is extended.

  2. Choose the Move toolbut don't move anything.

  3. Cycle through all the Blend Modes. Press and hold the Shift key while tapping the + key.

You may not end up using the results of any of these experiments, but they're very quick to do and you may find a happy surprise.

7.2.4. Using Multiple Adjustment Layers

You can make specific kinds of adjustments at any time. One of the absolute best things about using adjustment layers (as if you don't already have enough reason by now) is that you can aim and overlap them in endless combinations of location and Blend Mode.

Moreover, by stacking adjustment layers, you can often create effects in multiple areas of brightness or color. I can exert extremely precise control over contrast within a masked portion of the image by using multiple Curves layersall with the same mask but with different portions of the curves adjusted differently. To look at this more closely, I've constructed a mask for the street-crossing crowd that's used for three stacked curves layers in Figure 7-10.

Figure 7-10. The crowd in this scene has been adjusted with one Curves layer at left, two in the middle, and three in the right image.

If you stack adjustment layers that are about contrast, rather than color balance, it's a good idea to put them all in Luminance Blend Mode so that they don't change the color balance of the image.




Digital Photography(c) Expert Techniques
Digital Photography Expert Techniques
ISBN: 0596526903
EAN: 2147483647
Year: 2004
Pages: 124
Authors: Ken Milburn

flylib.com © 2008-2017.
If you may any questions please contact us: flylib@qtcs.net