Opacity
C=d*A+( 1-d)*B
Relative to opacity, its antonym is transparency. The relationship between these two terms is similar to the positive and negative relationship: 100% opacity is 0% transparency. This mixed mode is relatively simple. In this hybrid mode, if the overlapping order of the two layers is different, the results will be different (except for 50% transparency, of course).
In this formula, a represents the color value of the upper pixel (A= pixel value /255), d represents the transparency of this layer, b represents the color value of the lower pixel (B= pixel value /255), and c represents the color value of the mixed pixel (the actual pixel value should be 255*C). This formula also applies to layer mask. In this case, d represents the brightness of the pixel at a given position in the mask layer, which will not be described again below.
Darken. Darken.
B& lt； =A: C=B
B& gt； =A: C=A
This mode compares the upper and lower layers of pixels and outputs the relatively dark pixels. Note that the pixels of each different color channel are compared independently, and a relatively small color value is used as the output result. The lower layer represents the layer with the lower stacking order, and the upper layer represents the layer with the upper stacking order. The following is also not described.
Brighten up, brighten up
B& lt； =A: C=A
B& gt； A: C = B.
This mode is similar to the previous mode, except that the output result is larger (that is, brighter).
Multiplicative positive superposition
C=A*B
This effect multiplies the standard color values of two layers of pixels (based on 0... 1) and outputs them. The effect can be described as: two slides are projected after superposition, and the transmitted light needs to pass through the two slides respectively, thus being weakened twice.
Screen color filtering
C =1-(1-a) * (1-b) can also be written as1-c = (1-a) * (1-b).
This mode is just the opposite of the previous one. The standard color values of the upper and lower pixels are inverted and multiplied, and the output result will be brighter than the pixel values of the two pixels (just like two projectors project one layer separately and then project it on the same screen). It can be seen from the second formula that if the two layers are reversed and mixed in Multiply mode, the result will be exactly the same as that after the two layers are mixed in Screen mode.
Color fading
C=B/( 1-A)
In this mode, the brightness of the upper layer determines the exposure of the lower layer. The brighter the upper layer, the more light the lower layer gets, which means brighter. If the upper layer is pure black, that is, there is no brightness, it will not affect the lower layer at all. If the upper layer is pure white, then the lower layer is white except where the pixel is 255 (that is, 255, which is not exposed). The darkest part of the result will not be lower than the pixel value of the lower layer.
Color deepening
C= 1-( 1-B)/A
This mode is just the opposite of the previous one. If the upper layer is darker, the lower layer gets less light. If the upper layer is completely black, the lower layer is darker. If the upper layer is all white, it has no effect on the lower layer at all. The brightest part of the result will not be higher than the pixel value of the lower layer.
Linear thinning
C=A+B
Add the color values of the upper layer and the lower layer. The result will be brighter.
Linear burning line deepening
C=A+B- 1
If the sum of the pixel values of the upper and lower layers is less than 255, the output result will be pure black. If the upper layer is reversed, the result is pure mathematical subtraction.
Overlap and superposition
B& lt； =0.5: C=2*A*B
B& gt； 0.5:C = 1-2 *( 1-A)*( 1-B)
Depending on the color value of the lower layer, this mode may be multiplication or screen mode.
The upper layer determines the intensity of the midtone shift of the lower layer. If the upper layer is 50% gray, the result will be completely the value of the lower pixel. If the upper layer is darker than 50%, the middle tone of the lower layer will shift to the dark place; If the upper layer is brighter than 50%, the middle tone of the lower layer will shift to the bright place. For the upper layer, it is darker than 50%, the color band below the middle tone of the lower layer becomes narrower (originally 0~2*0.4*0.5, now 0~2*0.3*0.5), and the color band above the middle tone becomes wider (originally 2*0.4*0.5~ 1, now 2 * 0.3 *).
Strong light glare
A & lt=0.5: C=2*A*B
A & gt0.5:C = 1-2 *( 1-A)*( 1-B)
This mode completely corresponds to the case where the two layers are exchanged in sequence in the superposition mode. If the color of the upper layer is higher than 50% gray, the lower layer is brighter, and vice versa.
Soft light, soft light
A & lt=0.5: C=(2*A- 1)*(B-B*B)+B
A & gt0.5:C =(2 * A- 1)*(sqrt(B)-B)+B
This mode is similar to the way in which the upper layer modulates the color values of the lower layer with gamma values ranging from 2.0 to 0.5. The result will be a very soft combination.
Bright light
A & lt=0.5: C= 1-( 1-B)/2*A
A & gt0.5: C=B/(2*( 1-A))
This mode greatly increases the contrast, especially in highlights and shadows. Consider applying color deepening to shadows and color dimming to highlights.
Linear light
C=B+2*A- 1
Compared with the previous mode, this mode slightly increases the contrast. It is similar to linear combustion, but it deepens the influence of the upper layer.
Needle lamp radio and television
B& lt； 2*A- 1: C=2*A- 1
2 * A- 1 & lt； B& lt； 2*A: C=B
B& gt； 2*A: C=2*A
The result of this model is that the middle bond is almost the same as the lower layer, but both sides are the combination of dark year and bright year models.
Hard-mixed solid color mixing
A & lt 1-B: C=0
A & gt 1-B: C= 1
This mode leads to the final result containing only six basic colors, and each channel is either 0 or 255.
Difference difference
A-B|
The absolute value of the upper and lower tones. This mode is mainly used to compare two different versions of pictures. If the two are exactly the same, the result is all black.
Exclusion exclusion
C=A+B-2*A*B
Bright picture areas will lead to the inversion of another layer, while dark areas will lead to the complete invariance of another layer.
Tone tone
HcScYc = HASBYB
The tone of the output image is the upper layer, and the saturation and brightness are still the lower layer. For the gray upper layer, the result is a discolored lower layer.
Saturation saturation
HcScYc =HBSAYB
The saturation of the output image is the upper layer, and the hue and brightness are kept at the lower layer.
Color color
HcScYc = HASAYB
The brightness of the output image is the lower layer, and the hue and saturation are still the upper layer.
Photometric brightness
HcScYc =HBSBYA
The brightness of the output image is the upper layer, and the hue and saturation are kept at the lower layer.
Dissolve and dissolve
This model is not really dissolved at all, so it is not suitable for the title of dissolution, and its performance is only about the same as normal. It randomly selects some pixels from the upper layer as transparency, so that it can see the lower layer. The lower the transparency of the upper layer, the more areas of the lower layer can be seen. If the upper layer is completely opaque, the effect will be no different from normal.
In fact, we often combine multiple synthesis modes. For example, in multiple layers, the middle layer uses one synthesis method and the top layer uses another synthesis method, which often produces surprising results. If you try to do it layer by layer, the work efficiency will be quite slow. In fact, the pattern of layer composition also has inherent laws. If you master their principles, you can control them easily.
1. Multiplication mode
Multiplication mode is like treating the active layer and the image below as two transparent slides placed in front of the slide projector. One slide is in the front and the other is in the back. When light passes through two slides, images with two image contents are always dark. Multiplication mode can be used to add shadows without completely eliminating the color of the lower shadow area. Remember, white is the neutral color of this pattern, that is, white becomes transparent here, which is very useful, such as eliminating complex white background.
2. Screen mode
Putting two slides on two independent slide projectors and projecting them on the same screen at the same time will get the same effect as screen mode. The effect of screen mode is just the opposite of Multiply mode, and brighter images will be obtained. This mode can be used to add highlights to images. Remember, black is its neutral color.
3. Superposition, soft light and strong light modes are difficult to really distinguish these three modes, because these three modes multiply the dark color of the active layer with the bright color appearing on the screen to become the composite pixel of the lower layer. But their emphasis is different. The overlay mode focuses on synthetic pixels, while the highlight mode focuses on active layer pixels. If you want the image of the active layer to be clearer, you can use strong light mode. If you want the composite image of all the layers below to be clearer, you can use the overlay mode. On the other hand, the soft light mode weakens the strong light mode, resulting in low contrast effect. Remember, 50% neutral gray is their neutral color, which is very useful and can be used to make complex lighting effects.
4. Color Dodge and Color Burn mode The color dodge mode can turn each color on the active layer into a brightness multiplier and brighten the composite image. Bright colors like white have the strongest effect, while black has no effect. The effect of color deepening mode is opposite to that of color dimming mode. It uses the color of the active layer to reduce the brightness value of the composite image, which will make the image darken sharply. In the color deepening mode, dark color produces the strongest effect, while white color has no effect.
5. Difference mode and exclusion mode The difference mode simultaneously estimates the image area of the drawing and the current foreground color. If the foreground color is higher, the background color will change the opposite color of its original value. In this mode, painting with white on the image will produce the most remarkable effect, because no background image contains brighter tone values than absolute white. Exclude mode colors the middle color as gray to create a low contrast effect.
6. Hue, Saturation and brightness modes. They all use HSL color mode to mix the colors of the active layer and the underlying image. When selecting hue mode, Photoshop keeps the hue of the active layer unchanged and blends it with the saturation and brightness values of the underlying image. When the photometric mode is selected, only the light and dark information of the texture is transferred to the following figure. When you select the saturation mode, Photoshop keeps the saturation value of the active layer and blends it with the hue and brightness of the underlying image. It should be noted that the above mode has no influence on the grayscale image.
7. Color mode Color mode consists of hue and saturation. Photoshop preserves the hue and saturation of the active layer and blends them with the brightness of the lower image. Because the saturation effect of color mode is very weak, the effect produced by color mode is almost the same as that produced by hue mode. Color mode is mainly used for low-color images, such as black-and-white photos.
We often see images with gloomy pictures and poor contrast. Human vision has strong adaptability. If there are no other colorful pictures to provide contrast, maybe we can't remember to get rid of the dark atmosphere and let beautiful works appear in front of us. Overexposure and underexposure will lose some image details. In photoshop cs, there are many ways to deal with this situation, but according to different methods, the restoration degree of the restored image details is different. Therefore,
First, the key command of the whole painting: automatic gradient is the easiest way to deal with the gloomy picture. This command can automatically define the brightest and darkest pixels in each channel as white and black, and then assign pixel values during the period according to age. Generally speaking, this command is suitable for adjusting simple grayscale images. However, although the effect has improved, the picture performance is still very general.
Second, the whole picture is underexposed. The key command: color filter mode The layer blending mode in photoshop cs can bring us all kinds of magical effects. For those underexposed pictures, we choose the color filter mode. This mode is to multiply the pixel values of the complementary colors of two colors, and then divide by 255 to get the final pixel value. Usually, the color after this mode is lighter. Any color and black will remain unchanged after the color filter mode, and white will get white after the color filter mode. Face and other colors will have bleaching effect after filtering color mode. Some people may ask, can it only be used to deal with underexposed pictures? Of course not. Generally, we can use it to accomplish the following tasks: 1. By adjusting the transparency of the "upper layer", a full or thin halo effect can be obtained. 2. Strengthen the bright part of the image and improve the underexposed image. 3. I only hope that the bright part of the "upper layer" will remain, but the black part will not. The effect of color filter mode is just the opposite of positive overlay mode. The mixed mode is 65438. You can also try Alt+Shift+ letters to quickly change the blending mode. The pattern represented by each letter is as follows: n = normal k = darken I = fade G = brighten R = clear O = overlay F = soft light T = saturation M = positive overlay E = interpolation S = screen X = exclusion H = strong light C = color D = color fade Y = brightness B = color deepen Q = retreat (available when using painting tools) l = threshold (available when indexing). U = hue (available when using the dodge and deepen tools) w = dark hue (available when using the line and paint bucket tools in multi-layer images) v = midtone (available when using the line and paint bucket tools in multi-layer images) z = highlight (available when using the line and paint bucket tools in multi-layer images).
Note: The above hotkeys will also affect the currently active drawing tool, so if you want to change the blending mode of the active layer, please make sure to switch to the mobile tool first, or choose the tool yourself.