Some Exotic Blending Modes

Photoshop's blending modes combine layers or channels in sophisticated ways, as you learned

This documentiscreated withtrial version of CHM2PDFPilot2.16.100^uce a weathered, old-timey look to the photograph, taking advantage of the way Exclusion combines pixels.

Exclusion mode is closely related to Difference mode. The latter examines the brightness information of each channel, and subtracts one from the other, depending on whichever is brighter. That sounds confusing, but it's not difficult to understand if you narrow it down to individual pixels.

Consider the following cases:

If a pixel in the Source 1 or Source 2 channel has a value of 200 and the same pixel in the other channel has a value of 100, the result will be a new pixel with a value of 100. It doesn't matter where each pixel resides; the result is always the difference between the two.

If a pixel in either channel has a value of 255 (white), the result will always be a pixel that has the opposite value of the pixel in the remaining channel. A dark pixel with a value of, say, 55, will end up as the equivalent light pixel with a value of 200 (255 minus 55). A light pixel with a value of 200 will end up as a dark pixel (255 minus 200) with a value of 55.

Conversely, if a pixel in either channel has a value of 0 (black), the composite pixel will remain exactly the same as the value of the pixel in the remaining channel. Say, the other pixel has a value of 200; the composite pixel will be 200 minus 0, or 200.

Exclusion works similarly to Difference mode, except that it converts any midtoned pixels to gray, creating a lower contrast version that has the aged, faded, slightly washed out look like that in Figure 7.23.

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