![]() You’ve probably noticed adding a second Gradient when one already exists causes the first Gradient to be entirely replaced by the second. Redo the Gradient if you’d like to change the visible area (a Foreground to Background or Black to White Gradient will replace any previous Gradient) and/or re-adjust the Adjustment Layer to modify its effect. Toggle the visibility of an Adjustment Layer by turning the eyeball (to the left of the layer in the layers panel) on and off. Option/Alt+click on the Layer Mask thumbnail in the Layers Panel to see a preview of the Mask. Reflected gradients differ from regular linear gradients by mirroring the same (linear) gradient on both sides of the point where you start dragging.Īt each stage of the process, check your work. Reflected Gradient, white (foreground)-to-black (background). Tip: I often use the Reflected Gradient to adjust color, contrast, or density along the horizon in landscape images Hold down the Shift key as you drag in order to constrain the angle of the Gradient to exactly horizontal. The Gradient created in the Levels Adjustment Layer’s Mask (below) will make the Levels adjustment visible in a horizontal stripe across the canvas. Click+drag up from the center of the buildings to the just above the roofline. Using the Gradient tool set to Reflected Gradient, Foreground to Background, set the foreground color to white, and the background color to black. I found Levels values of 15/1.10/201 look good, but you can choose whatever settings you think best. To add contrast to the homestead, I'm going to add a Levels Adjustment Layer above the pixel layer(s). As with all darkroom work, these adjustments are designed to re-direct attention to the primary subject, in this case the buildings. We will also darken the sky, especially at the outside edges of the picture. ![]() W e will complete work on the composite image by making the homestead lighter, more contrasty, and warmer - all of which will make it more interesting. ![]() Picking up where we left off at the end of Part 1, let's use Adjustment Layers with Gradients inside the Masks to selectively deliver darkroom-style adjustments quickly and powerfully. As we proceed, you can follow along step-by-step using the image above, or you can use your own variation created from the moderate-resolution JPEGs of foreground and sky, provided at the top of page 2, in Part 1. Our starting place for this tutorial is this composite created from two images in Part 1. Here we're going to be using Linear, Reflected and Radial gradients. They’re also ideal for fundamental darkroom tasks, like burning & dodging and color adjustments. While most users may only be familiar with a single type of gradient,Photoshop offers many options. ![]() As we saw in Part 1, Gradients are handy for making simple composites. Gradients (in addition to Brushes and Selections - and even in conjunction with them) offer a fast, easy, seamless way to make local changes to an image. This Photoshop tutorial is the second of two articles that focus on using Gradient tools. Gradients are a largely underused tool that should be a part of every power-Photoshop user's repertoire. Quick, powerful, and all but invisible because of their feathered transitions. Look familiar? This is our composite-image landscape from Part 1, with color and tone adjustments.Īs discussed in the previous article: ' Photoshop Gradient Tool: Blending Images' (aka Part 1), whether I’m just doing basic 'darkroom' work, or creating a composite image, using Photoshop’s Gradient tool in a Layer Mask is one of my go-to techniques. ![]()
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