Linear dimmer in Photoshop. Layer blend modes in Photoshop

When it comes to learning Photoshop, it actually means thoroughly learning just a few features, believe it or not. Of course, the Photoshop program is multifunctional and with each new version is filled with more and more all kinds of tools and parameters. But do you really need the most latest version program with its numerous properties in order to process your photos?

You might think, “Yes, of course,” but most likely your answer will be no. With a little knowledge and skills in working with the basic tools of the program, you will be able to successfully process most photos. Although each subsequent version of Photoshop introduces additional properties and options, the basic tools you need to know are the same in both Photoshop CS3 and Photoshop 3, when layers were first introduced.

So, what do you need to know how to do in Photoshop? Firstly, use basic selection tools, and secondly, know what layers are for and how to work with them. Understanding how layer masks work is also important. Finally, you need to know how and when to use layer blending modes, which is the topic of our tutorial today.

To put it simply in simple language, blending modes allow a layer to interact or “blend” with an underlying layer or multiple layers in various ways. Without using blending modes, the only way to combine layers is to reduce the layer's opacity (or fill it), which may not produce very interesting results. By using blending modes, we not only get unpredictable and incredible results, especially in combination with the work of layer masks, but also make our task much easier when editing, retouching or restoring photos, also saving time!

Of course, just like Photoshop itself, you don't need to know everything about blending modes to successfully use them in your work. Photoshop CS2 had twenty-three blend modes (including the default Normal mode), Photoshop CS3 added two more modes, bringing the total to twenty-five - a huge list to choose from! Names like Fade, Base Dodge, Linear Burn, Difference, and Eliminate are enough to leave you scratching your head wondering what these modes are and how to use them.

I'll tell you a little secret. Of course, it's not really a secret, but you're encouraged by the thought that you're going to learn something that no one else knows, so let's call it a secret. As I already mentioned, you don't need to know all the intricacies of working with all the blending modes. In fact, for most of your photos, it's enough to have an understanding of the five blend modes. Yes, yes, not about twenty-three or twenty-five modes, but only about five! What are these modes? Multiply, Screen, Overlay, Color and Luminosity. By learning how and when to use these modes, you'll be able to edit your photos with ease.

Before we start learning how each of the five blend modes works, let's learn where they are located. If you think you can find them in the Layers menu bar at the top of the screen, you're a little mistaken. In fact, if we clicked on the menu bar every time we wanted to change the layer’s blending mode, then this would be a real problem. Luckily, Adobe realized that we are all too lazy for this action and made our lives easier. You can get quick access to blend modes by selecting the drop-down box in the top left corner of the layers panel. By default, the blending mode is “Normal”:

Blending modes drop-down box in the top left corner of the layers panel

Just a quick note - if you look at the image above, you'll notice that I've gone ahead and created a copy of the original layer. background(by pressing Ctrl+J / Command+J), and now I have this copy selected called “Layer 1”. I did this because Photoshop treats the background layer differently from other layers and does not allow us to change the blend mode while working with it.

If you're not following my steps while working on your own, and you notice that your Blending Modes drop-down box is grayed out (inactive), the most likely reason is that you only have one layer created in the Layers panel, and it's called "Background" ( Background). To access blend modes, you must either create a copy of the background layer or rename the background layer itself.

When you click on the little two-arrow icon next to the word "Normal" and open a window with a list of all the blend modes, you may initially feel that there is no sense or logic in the order of their placement, especially if you are not familiar with how these modes work . I work in at the moment in the version of Photoshop CS2, which has twenty-three blending modes, and in the version of Photoshop CS3, as I mentioned earlier, there are twenty-five of them.

If you look more closely, you'll notice that the blending modes are actually grouped together. The top two modes “Normal” and “Dissolve” make up the first group, the lower modes are “Darken”, “Multiply”, “Darkening the Base” ( Color Burn) and Linear Burn form the second group, and so on. There are six groups in total, and you might think that the reason the modes are grouped together is because the modes have something in common. You are absolutely right!

Although, you would be right to leave out the first group at the very top of the list. The “Normal” and “Fading” modes have nothing in common, and, nevertheless, are combined into one group. You could easily go your entire life without using the Fade mode as it's pretty useless, especially when editing images, while the Normal mode is the default and means all layers are adjusted automatically without any changes on your part .

So the first group is not really a group, unless you call it a group of "regimes that have nothing in common." The rest of the blend modes are grouped because they actually have something common friend with a friend. Below is a diagram of all groups:

Diagram showing different groups of blending modes

As you can see in the multi-color scheme above (I chose different colors for ease of viewing), the blending modes are Darken, Multiply, Color Burn and Linear Burn ( Linear Burn) form a group of dimming modes. Why? Because each of these modes makes the image darker. Please note that the Multiply mode is included in this group. If you remember, Multiply mode is one of the five modes you definitely need to know, and we'll explore it in more detail soon.

Next are the Lighten, Screen, Color Dodge, and Linear Dodge modes, which make up a group of lightening modes. Each of them brightens the image. Please note that the Screen mode, which is part of the Lightening modes group, is another mode that you should know about how it works and which we will look at in more detail.

Below are the modes “Overlay”, “ Soft light"Soft Light", "Hard Light", "Vivid Light", "Linear Light", "Pin Light" and "Hard Mix" , making up a group of contrast modes. Each of these modes simultaneously darkens and brightens the image, making it more contrasty. Note that the Overlay mode you need to know is included in this group.

Next comes a group of modes that we will not consider in detail. It includes the Difference and Exclusion modes and is called the comparison mode group. Both of these modes are designed to compare pixels between layers and are not used often, especially when processing photos. You will rarely need the Difference mode, and you will use the Exception mode just as often as the Fade mode, in other words, almost never.

Finally, there is a group of component modes, also known as the HSL group (Hue, Saturation and Luminosity) after the first letters of the three blend modes included in it, along with the Color mode ). All modes in this group affect the level of brightness or saturation of the layer. The Color and Luminance modes are the last of the five basic modes you need to know for editing and retouching photos in Photoshop.

Thus, we have seen that, despite the huge list of blending modes, there are only five types of blending modes. Modes of the first type darken the image, modes of the second - lighten the image, modes of the third - simultaneously darken and lighten the image to give greater contrast, the fourth type modes - compare pixels between different layers and, finally, the fifth type modes - affect the degree of brightness or saturation of the image. We managed to organize twenty-five, at first glance, completely different modes overlays and break them down into five types (excluding Normal and Fade modes, which shouldn't bother us). Not a bad start! But we can go further, because you only need to know five blend modes to be able to process photos - one from the group of darkening modes, one from the group of dodge modes, one from the group of contrast modes and two from the group of component modes.

The first mode that we need to study in detail is the “Multiply” mode. As we previously saw in the diagram, this mode is included in the group of dimming modes. This means that the mode is aimed at darkening the image. In fact, this is the only mode in the group of darkening modes that you need to know well, and it is also the most widely used of all the blend modes. We'll look at the Multiply mode in more detail in the next lesson.

Translation: Ksenia Rudenko

Layer blending or blending modes Adobe Photoshop determine how each of the layers in a multilayer image will interact with the underlying layers. In other words, it depends on the blending mode mathematical algorithm mixing the values of overlapping pixels of two or more layers.

The default blending mode for any layer is Normal. To change the blending mode, use the drop-down menu Blending Mode located in the Layers palette and select desired mode from the list.

Classification of blending modes

Adobe Photoshop has 27 layer blending or blending modes, each of which can be classified into one of six groups depending on the type of interaction between layers. In the Blending Mode menu, groups of modes are visually separated using horizontal lines, but not signed. If you're not interested in reading about groups, you can skip straight to the practical examples.

Normal modes: Normal and Dissolve. At 100% opacity, the pixels on the top layer simply replace the pixels on the bottom without being affected by the latter. When the opacity is reduced, the pixels of the bottom layer either appear through the pixels of the top layer (Normal) or partially replace them (Dissolve).
Subtractive modes: Darken, Multiply, Color Burn, Linear Burn, Darker Color. These modes, one way or another, lead to darkening of the image. Their action can be compared to mixing colors on paper, i.e. with subtractive color synthesis.
Additive modes: Lighten, Screen, Color Dodge, Linear Dodge, Lighter Color. In contrast to subtractive modes, additive modes serve to brighten the image according to the mixing principle color radiation(additive color synthesis).
Complex modes: Overlay, Soft Light, Hard Light, Vivid Light, Linear Light, Pin Light, Hard Mix. These modes affect the brightness and contrast of the final image, making shadows darker and highlights lighter.
Difference modes: Difference, Exclusion, Subtract, Divide. The resulting color is formed based on the difference between the colors of the upper and lower layers.
HSL modes: Hue, Saturation, Color, Luminosity. HSL stands for Hue, Saturation, Lightness, i.e. hue, saturation and lightness. Thus, HSL modes carry one or two components color scheme HSL from top layer to bottom layer.

Practice

To illustrate the effect of the different layer blending modes, I'll use two photographs.

One of my Karelian landscapes will be used as the bottom layer.

For the top layer I'll use a sand texture.

Next, we will sequentially go through all possible blending modes for the top layer and see what comes of it. In these examples I do not pursue any artistic goals, but simply try to demonstrate the mechanics of layer blending in different modes. For clarity, the opacity of the top layer will be 100% for all modes except Normal and Dissolve, for which I will set it to 50%. At 100% opacity, the blending effect in these modes would not be noticeable, since the top layer completely replaces the bottom. Of course, in real life very often you have to use much more modest opacity values so that the blending effect doesn't look too loud.

Let me remind you that the opacity of a layer can be controlled using two parameters: Opacity (Density) and Fill (Fill). Moreover, for most blending modes, Opacity and Fill act exactly the same, with the only difference being that Opacity affects both the layer itself and the styles applied to it, while Fill ignores styles. However, the eight modes (Color Burn, Linear Burn, Color Dodge, Linear Dodge, Vivid Light, Linear Light, Hard Mix, and Difference) respond slightly differently to decreasing the Opacity and Fill parameters, and that's something to keep in mind.

In all cases where I present the formulas used by Photoshop to calculate the resulting color, the letter a will indicate the brightness value of the top layer, and b – lower. The minimum value is 0 (black color), the maximum is 255 (white color).

Normal blend modes

Standard and most frequently used mode. At 100% opacity, the pixels of the top layer completely replace the pixels of the bottom one, and when the opacity decreases, the bottom layer smoothly appears from under the top one.

At 100% opacity it looks the same as Normal. As the opacity decreases, some of the pixels on the top layer are randomly replaced by pixels on the bottom layer.

Subtractive blend modes

If any pixel of the top layer is darker than the corresponding pixel of the bottom layer, then it remains in place. If a pixel in the top layer turns out to be lighter, it is replaced by a pixel in the bottom layer. Thus, the resulting image contains the darkest pixels from both layers. It is important that the brightness values are compared for each color channels independently, and therefore the colors can be quite distorted.

Best mode for dimming. The value of the pixels in the top layer is multiplied by the value of the corresponding pixels in the bottom layer and divided by the maximum possible value (255).

Mode formula: (a × b) ÷ 255.

If one of the layers contains black color (0), the result will also be black. If white color (255) is present, the resulting color will be the color of another layer.

Even more pronounced darkening than with Multiply. The highlights are dimmed more, and the color saturation of the midtones increases.

Formula: 255 – ((255 – b) ÷ (a ÷ 255)).

Darker than Multiply, but not as rich as Color Burn.

Formula: (a + b) – 255.

Works in the same way as Darken, choosing the darkest pixels from the list, with the only difference being that Darker Color does not pay attention to individual color channels, and instead compares the overall brightness values of the pixels. As a result, the colors of the pixels used are not distorted.

Additive blend modes

This mode is the opposite of Darken mode. If the pixels in the top layer are lighter than the corresponding pixels in the bottom layer, they are saved. If the top pixels turn out to be darker, they are replaced by the bottom ones. Comparison of brightness values is carried out channel by channel.

Multiply mode is the opposite. Effectively and delicately brightens images. Clipping can only occur if one of the layers already contains white pixels.

Formula: 255 – ((255 – a) × (255 – b) ÷ 255).

Coarser and more intense lightening than Screen. Characterized by knocking out highlights and increasing the color saturation of midtones.

Formula: (b ÷ (255 – a)) × 255.

Even lighter than Color Dodge, but with more faded colors. The brightness values are simply added together.

Formula: a+b.

As in the Lighten mode, the lightest pixels from two layers are saved, but only their overall brightness is taken into account without regard to individual color channels.

Complex blending modes

Each of the complex modes is, in fact, a combination of two mixing modes that are opposite in effect: subtractive and additive, acting in combination. In this case, subtractive methods are applied to dark pixels, and additive methods are applied to light pixels. Thus, dark pixels become darker and light pixels become lighter, resulting in increased contrast in the image.

In all complex modes except Overlay, brightness assessment is based on the top layer. Where the top pixels are darker than 50% gray, the subtractive method is used, if lighter, the additive method is used. The pixels on the top layer, colored neutral gray (50%), have no effect on the bottom layer. In Overlay mode, the bottom layer is evaluated in the same way.

The Multiply mode is applied to dark areas of the image, and Screen to light areas. The brightness is assessed using the bottom layer. If you create a copy of the layer and apply Overlay mode to it, the effect will be reminiscent of applying an S-shaped curve.

Just like the Overlay mode, a combination of the Multiply and Screen modes is used, but the brightness of the source pixels is estimated based on the top layer. Soft Light is the most convenient mode for gently enhancing contrast, as it handles shadows and highlights very delicately without blowing them out.

Uses a combination of Linear Burn and Linear Dodge modes for dark and light pixels, respectively. The result is a fairly harsh contrast boost.

A combination of Color Burn and Color Dodge modes. Acts even more intensely than Hard Light.

A combination of Linear Burn and Linear Dodge modes.

A combination of Darken and Lighten modes.

It works the same way as Linear Light (a combination of Linear Burn and Linear Dodge), but at the intensity limit, as a result of which pixels in each color channel are assigned either a minimum (0) or maximum (255) brightness value. As a result, the color palette of the image is RGB mode reduced to 8 colors: red (255; 0; 0), green (0; 255; 0), blue (0; 0; 255), cyan (0; 255; 255), crimson (255; 0; 255), yellow (255; 255; 0), black (0; 0; 0) and white (255; 255; 255).

Differential blend modes

The brightness values of the top and bottom pixels are compared, and the smaller value is subtracted from the larger value. Thus, the resulting value corresponds to the difference between the original values. The presence of white on one of the layers leads to the inversion of any other color. Black color has no effect. Obviously, pixels of the same color cancel out and become black, since their difference is 0.

Formula: (b ÷ a) × 255.

If the top layer's pixel is white, the resulting color will be the color of the bottom layer. Pixels of the same color become white, provided they are not black. Identical black pixels remain black. The Divide mode works per channel, which leads to additional color distortion.

HSL blend modes

The resulting color has the hue of the top layer and the saturation and lightness of the bottom.

The saturation values of the top layer are used along with the hue and lightness values of the bottom layer.

The color information (hue and saturation) of the top layer is combined with the luminance information (lightness) of the bottom layer. Roughly speaking, the lower layer is painted in the colors of the upper one. A very convenient mode when there is a need to edit only the color component of the image, for example, when dealing with color noise or chromatic aberrations.

In contrast to the Color mode, it preserves the lightness of the top layer, and takes the hue and saturation values from the bottom one. Luminosity mode is useful when you want to keep the colors constant by changing the brightness and contrast of an image. This is similar to editing the L channel when working in the Lab color space. For example, I typically use Luminosity mode when sharpening with unsharp masking to avoid color artifacts.

Thank you for your attention!

Vasily A.

Post scriptum

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Working with layers is one of the most powerful features of Photoshop. No serious retouching is complete without working with layers.

Layer blend modes are a big and complex topic. In this article you can familiarize yourself with layer blending modes and their descriptions. The article will primarily be of interest to beginners and those who have just begun to study the topic of layers in Photoshop, and it will also be useful as a cheat sheet on blending modes.

First, let's look at the layers panel.

Above the layers there is a menu for selecting the blending mode, opacity (Opacity) and filling (Fill).

Note. I am often asked the question - how is Opacity different from Fill? The answer is that Fill affects the transparency of only the layer pixels, but Opacity affects the opacity of the pixels and layer effects.

Lock transparent areas - you will only be able to change areas filled with pixels.
Lock image pixels - Prevents pixels from being modified using drawing tools.
Lock position - prevents pixels from moving.
Lock the entire layer.

Bottom panel:

Creating a link between layers - you can link two or more layers or groups to each other. Unlike selecting multiple layers, linked layers remain linked until you unlink them.
Applying effects to layers - opens the selection of effects and their control.
Adding a mask to a layer - a regular, white mask is created, and if you hold Alt and click on the button, an opaque mask is created.
Creating an adjustment layer - unlike a regular correction, say Curves - the adjustment layer can be changed at any time.
Creating a folder for layers is very convenient when working with a large number layers, group them.
Create a new layer.
Deleting a layer.

Now let's move directly to layer blending modes.

Layer Blending Modes

Initially we have such a landscape picture. At the top we have a layer with 50% opacity, below there are two layers with 100% opacity. Two are opaque so that you can see the difference against the background of the sky and against the background of the grass.

Basic - Main group

Normal- The pixels of the top layer are opaque and therefore cover the bottom layer. Changing the opacity of the top layer will make it translucent and cause it to blend into the other layer.

Dissolve- Combines the top layer with the bottom using a pixel pattern. There will be no effect if the top layer has 100% opacity. Reduce the opacity to reveal the effect.

Darken - Darkening group

Darken- Compares two sources and replaces light pixel values with dark pixel values.

Multiply- Darkens the entire image. Useful when you need to increase the density of highlights and midtones. Multiply is like viewing two slides overlaid on top of each other. If the top layer is white, no changes will occur.

Color Burn- Allows you to get a darker image with increased contrast. If the top layer is white, no changes will occur.

Linear Burn- A stronger combination of Multiply and Color Burn blending modes, dark pixels are converted to black. If the top layer is white, no changes will occur.

Darker color- Similar to Darken mode, except that it works on all layers at once, rather than on just one. When you blend two layers, only the dark pixels will remain visible.

Lighten - Lightening group

Lighten- The opposite mode to the Darken mode, darkens dark pixels with lighter ones.

Screen- Brightens the entire image. Use it to brighten dark areas of an image, as well as to bring out detail in underexposed images.

Color Dodge- The effect of Color Dodge mode is similar to Screen, but is noticeably stronger in light areas due to the development of more saturated and contrasting colors bottom layer. Based on the Dodge tool, which simulates underexposure in the photographic process.

Linear Dodge (Add)- Combination of Screen and Color Dodge modes; light values are converted to white. If the top layer is black, there will be no effect.

Lighter Color- Compares the values of all channels of both layers and displays lighter pixels.

Contrast - Contrast increase group

Overlay- Darkens dark pixels (Multiply) and brightens (Screen) light ones, which increases contrast without truncation of shadows and highlights. If the top layer is 50% gray, there will be no effect.

Soft Light- A combination of Dodge mode, which brightens light pixels, and Burn mode, which darkens dark pixels. Increases contrast slightly less than Overlay and Hard Light modes. If the top layer is 50% gray, there will be no effect.

Hard Light- Uses the same method as Overlay mode, but the effect is stronger. If the top layer is lighter than 50% gray, then the top layer is lightened through Screen, and if it is darker, it is darkened through Multiply. If the top layer is 50% gray, there will be no effect.

Vivid Light- If the top layer is lighter than 50% gray, then the top layer is lightened by decreasing the contrast (Color Burn), and if it is darker, it is darkened by increasing the contrast (Color Dodge). If the top layer is 50% gray, there will be no effect.

Linear Light- Similar to Vivid Light mode. If the top layer is lighter than 50% gray, then the top layer is lightened by increasing the brightness (Linear Burn), and if it is darker, then it is darkened by decreasing the brightness (Linear Dodge). If the top layer is 50% gray, there will be no effect.

Pin Light- Combines Darken and Lighten modes to replace pixel values. If the top layer is lighter than 50% gray, the pixels are brightened using the Lighten mode, and if darker than 50% gray, the pixels are darkened using the Darken mode. If the top layer is 50% gray, there will be no effect.

Hard Mix- Brightens light pixels and darkens dark pixels to threshold values. This leads to extreme posterization. The glow of the top layer mixes with the color of the bottom.

Comparative - comparison group

Difference- Represents identical pixels as black, similar ones as dark gray, and opposite ones as inverted. If the top layer is black, there will be no changes. Practical Application This mode can be seen in the article.

Exclusion- Similar to Difference mode, but provides less contrast. Overlaying with black does not result in any change, but overlaying with white pixels results in an inversion of the compared values, causing them to appear in gray.

HSL - Image Component Group

Hue- Combines the Luminance and Saturation of the bottom layer with the Hue of the top layer.

Saturation- Combines the Luminance and Hue of the bottom layer with the Saturation of the top layer.

Color- Combines the Hue and Saturation of the top layer and the Luminance of the bottom layer.

Luminosity- The opposite of Color mode. Combines the Luminance of the top layer and the Hue and Saturation of the bottom layer.

The settings of almost all tools responsible for drawing in Photoshop (brushes, fills, gradients, etc.) contain Blend Modes. In addition, the Blend Mode can be changed for the entire image layer.

We'll talk about layer blending modes in this tutorial. This information will provide a basis for working with blending modes.

Each layer in the palette initially has a blend mode "Normal" or "Ordinary", but the program makes it possible, by changing this mode, to change the type of interaction of this layer with the subjects.

Changing the Blending Mode allows you to achieve the desired effect on the image, and, in most cases, it is quite difficult to predict in advance what this effect will be.
All actions with Blending Modes can be performed infinite number times, since the image itself does not change in any way.

Blending modes are divided into six groups (from top to bottom): Normal, Subtractive, Additive, Complex, Difference and HSL (Hue – Saturation – Lighten).

This group includes modes such as "Ordinary" And "Fading".

"Ordinary" is used by the program for all layers by default and does not provide for any interaction.

"Fading" selects random pixels from both layers and deletes them. This gives the image some graininess. This mode only affects those pixels that have an initial opacity of less than 100%.

The effect is similar to applying noise to the top layer.

Subtractive

This group contains modes that darken the image in one way or another. This includes Burn, Multiply, Base Burn, Linear Burn, and Darken.

"Blackout" leaves only dark colors from the image of the top layer onto the underlying one. IN in this case The program selects the darkest shades, and white color is not taken into account at all.

"Multiplication", as the name suggests, multiplies the values of the base shades. Any shade multiplied by white will give the original shade, multiplied by black will give black, and other shades will not become brighter than the initial ones.

Original image when applied "Multiplication" becomes darker and more saturated.

"Darkening the Base" promotes a kind of “burning out” of the colors of the lower layer. Dark pixels on the top layer darken the bottom layer. There is also a multiplication of shade values here. White does not participate in the changes.

"Linear dimmer" Decreases the brightness of the original image. White color is not involved in mixing, and other colors (digital values) are inverted, added and inverted again.

"Darker". This mode leaves dark pixels from both layers in the image. The shades become darker and the digital values decrease.

Additive

This group contains the following modes: Lighten, Screen, Base Dodge, Linear Dodge, and Lighten.

The modes belonging to this group brighten the image and add brightness.

"Replacement with light" is a mode whose action is opposite to the action of the mode "Blackout".

In this case, the program compares the layers and leaves only the lightest pixels.

The shades become lighter and “smoothed out”, that is, they are closest in value to each other.

"Screen" in turn opposed "Multiplication". When using this mode The colors of the bottom layer are inverted and multiplied with the colors of the top layer.

The image becomes brighter, and the final shades will always be lighter than the original ones.

"Base Lightening". Using this mode gives the effect of “fading” the shades of the bottom layer. The contrast of the original image is reduced and the colors become lighter. A glow effect is created.

"Linear brightener" similar to the regime "Screen", but with a stronger impact. Color values increase, resulting in lighter shades. Visual effect similar to being illuminated by a bright light.

"Lighter". The mode is the opposite of the mode "Darker". Only the lightest pixels from both layers remain in the image.

Complex

The modes included in this group not only lighten or darken the image, but affect the entire range of shades.

They are called as follows: “Overlay”, “Soft light”, “Hard light”, “Bright light”, “Linear light”, “Spot light” and “Hard blend”.

These modes are most often used to apply textures and other effects to the original image, so for clarity, we will change the order of the layers in our tutorial document.

"Overlap" is a mode that has absorbed the properties "Multiplication" And "Screen".

Dark colors become richer and darker, and light colors become lighter. The result is higher image contrast.

"Soft Light"- less harsh brother "Overlap". In this case, the image is illuminated with diffused light.

When selecting a mode "Hard Light" the image is exposed to a stronger light source than "Soft Light".

"Bright Light" applies the mode "Base Lightening" to light areas and "Linear brightener" to the dark ones. At the same time, the contrast of light areas increases, and the contrast of dark areas decreases.

"Linear Light" opposite previous regime. Increases the contrast of dark shades and reduces the contrast of light shades.

"Point Light" combines light shades using the mode "Lighter", and dark ones - using the mode "Darker".

"Hard Mix" affects light areas with the mode "Base Lightening", and on dark ones - mode "Darkening the Base". In this case, the contrast in the image reaches so much high level that color aberrations may occur.

Difference

This group contains modes that create new shades based on the difference characteristics of layers.

The modes are: Difference, Elimination, Subtraction and Divide.

"Difference" works like this: white pixel on the top layer inverts the underlying pixel on the bottom, a black pixel on the top layer leaves the underlying pixel unchanged, matching pixels results in black.

"Exception" works the same as "Difference", but the contrast level is lower.

"Subtraction" changes and mixes colors in the following way: the colors on the top layer are subtracted from the colors on the top layer, and the black areas will have the same colors as the colors on the bottom layer.

"Divide", as the name implies, divides the numerical values of the shades of the top layer by the numerical values of the shades of the bottom. The colors may change dramatically.

HSL

The modes combined in this group allow you to edit color characteristics images such as brightness, saturation and hue.

Group modes: Hue, Saturation, Chroma, and Brightness.

"Color Tone" gives the image the tone of the top layer, and the saturation and brightness of the bottom layer.

"Saturation". The situation is the same here, but only with saturation. At the same time, white, black and gray colors, contained on the top layer, will discolor the final image.

"Chroma" gives the final picture the tone and saturation of the overlay layer, and the brightness remains the same as on the underlying one.

"Brightness" Gives the image the brightness of the underlying layer while maintaining the color tone and saturation of the underlying layer.

Layer blending modes in Photoshop allow you to achieve very interesting results in your works. Be sure to use them and good luck with your creativity!

Working with layers is one of the most powerful features of Photoshop. No serious retouching is complete without working with layers.

First, let's look at the layers panel.

Above the layers there is a menu for selecting the blending mode, opacity (Opacity) and filling (Fill).

Note. I often get asked the question: how is Opacity different from Fill? The answer is that Fill affects the transparency of only the layer pixels, but Opacity affects the opacity of the pixels and layer effects.

Lock transparent areas - you will only be able to change areas filled with pixels.
Lock image pixels - Prevents pixels from being modified by drawing tools.
Lock Position - Prevents pixels from moving.
Lock the entire layer.

Bottom panel:

Creating a link between layers - you can link two or more layers or groups to each other. Unlike selecting multiple layers, linked layers remain linked until you unlink them.
Applying effects to layers - opens the selection of effects and their control.
Adding a mask to a layer - a regular, white mask is created, and if you hold Alt and click on the button, an opaque mask is created.
Creating an adjustment layer - unlike a regular correction, say Curves - the adjustment layer can be changed at any time.
Creating a folder for layers is very convenient when you work with a large number of layers and group them.
Create a new layer.
Deleting a layer.

Now let's move directly to layer blending modes.

Layer Blending Modes

Basic - Main group

Normal— The pixels of the top layer are opaque and therefore cover the bottom layer. Changing the opacity of the top layer will make it translucent and cause it to blend into the other layer.

Dissolve— Combines the top layer with the bottom using a pixel pattern. There will be no effect if the top layer has 100% opacity. Reduce the opacity to reveal the effect.

Darken - Darkening group

Darken— Compares two sources and replaces light pixel values with dark ones.

Multiply— Darkens the entire image. Useful when you need to increase the density of highlights and midtones. Multiply is like viewing two slides overlaid on top of each other. If the top layer is white, no changes will occur.

Color Burn— Allows you to get a darker image with increased contrast. If the top layer is white, no changes will occur.

Linear Burn— A stronger combination of Multiply and Color Burn blending modes, dark pixels are converted to black. If the top layer is white, no changes will occur.

Darker color— Similar to Darken mode, except that it works on all layers at once, rather than on just one. When you blend two layers, only the dark pixels will remain visible.

Lighten - Lightening group

Lighten— The mode is the opposite of the Darken mode, darkens dark pixels with lighter ones.

Screen— Brightens the entire image. Use it to brighten dark areas of an image, as well as to bring out detail in underexposed images.

Color Dodge— The effect of Color Dodge mode is similar to Screen, but is noticeably stronger in light areas due to the development of more saturated and contrasting colors of the lower layer. Based on the Dodge tool, which simulates underexposure in the photographic process.

Linear Dodge (Add)— Combination of Screen and Color Dodge modes; light values are converted to white. If the top layer is black, there will be no effect.

Lighter Color- Compares the values of all channels of both layers and displays lighter pixels.

Contrast — Contrast increase group

Overlay— Darkens dark pixels (Multiply) and brightens (Screen) light ones, which increases contrast without truncation of shadows and highlights. If the top layer is 50% gray, there will be no effect.

Hard Light- Uses the same method as Overlay mode, but the effect is stronger. If the top layer is lighter than 50% gray, then the top layer is lit through Screen, and if it is darker, it is darkened through Multiply. If the top layer is 50% gray, there will be no effect.

Vivid Light— If the top layer is lighter than 50% gray, then the top layer is lightened by decreasing the contrast (Color Burn), and if it is darker, then it is darkened by increasing the contrast (Color Dodge). If the top layer is 50% gray, there will be no effect.

Hard Mix— Brightens light pixels and darkens dark pixels to threshold values. This leads to extreme posterization. The glow of the top layer mixes with the color of the bottom.

Comparative - comparison group

Difference— Represents identical pixels as black, similar ones as dark gray, and opposite ones as inverted. If the top layer is black, there will be no changes. The practical application of this mode can be seen in the article about replacing the background.

Exclusion— Similar to Difference mode, but provides less contrast. Overlaying with black does not result in any change, but overlaying with white pixels results in an inversion of the values being compared, causing them to appear in gray.

HSL - Image Component Group

Hue— Combines the Luminance and Saturation of the bottom layer with the Hue of the top layer.

Saturation— Combines the Luminance and Hue of the bottom layer with the Saturation of the top layer.

Color— Combines the Hue and Saturation of the top layer and the Luminance of the bottom layer.

Luminosity— The opposite of Color mode. Combines the Luminance of the top layer and the Hue and Saturation of the bottom layer.

P.S.

These descriptions will help you understand what happens when colors are mixed. In the next article we will talk about adjustment layers and masks.