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3 So far so good. Now I want to add some glow
to the foliage. It is important that the underlying
image has remained in RGB (because it is the
adjustment layer which is making the monochrome
conversion). I went to the Channels palette and
highlighted the green channel and applied a
Gaussian blur filtration to that channel only. The
result of the full blur is shown opposite. This isn’t
the desired result, so I followed that with an Edit
> Fade Filter command, reducing the blur to a
26% opacity and Screen blend mode.
4 This is the final result after applying the Channel
Mixer adjustment and green channel blur on the
Background layer. To further simulate the infra-
red emulsion, try adding a hefty amount of Gaus-
sian noise filtration to either all three color chan-
nels or the green channel only.
Adding a photographic rebate
This final example combines several of the black and white techniques discussed in
this chapter. If I want to mimic the effect of a photographic type rebate, like that
associated with a Polaroid™ negative emulsion, I will go about this by opening a
prepared scan of such a rebate, add this as an image layer and set the blend mode to
Multiply. The rebate image must have clear 100% white areas. That way, only the
dark areas will show through using the Multiply blending mode.
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Black and white effects
381
The Levels adjustment layer above it darkens the
image, but I made a rectangular selection feathered

photographic styles has always inspired image makers to seek out and develop
fresh techniques like processing films in the wrong chemistry.
It’s all a matter of using any means at your disposal to achieve your ends, which is
why computer manipulation should be seen as just another aspect of the image mak-
ing process. The following techniques begin by emulating the results achieved with
chemicals, but as will be seen, there is ample room for exploration to go further and
create many types of color shifted results. Use the basic formula as a springboard for
new ideas and variations beyond the scope of a wet darkroom.
Photoshop is especially able to handle wild distortions thanks to extended 16-bit
channel support with color adjustments This is now available for a limited range of
Photoshop functions, including basic filters. Extreme or repeated color changes com-
pound the data loss in each color channel – you may not necessarily notice this
unless you later inspect the color channels individually. A Levels histogram readout
will certainly show where gaps in the levels occur. Data gets lost when working at
16-bit too, but crucially when you revert or compress to 8-bit color there is more
than enough data to fill in the gaps. Close analysis will show the difference between
a series of color adjustments made in 16-bit and 8-bit. An 8-bit image may result in
some signs of posterization at certain delicate parts of the image. You will see better
preserved image detail in the 16-bit color manipulated image.
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Coloring effects
383
Cross-processing
There are two types of cross-processing, both of which gained popularity towards
the late eighties. There was the E-6 transparency film processed in C-41 color nega-
tive chemicals technique and C-41 film processed in E-6. For the latter effect, you
used Kodak VHC film, overexposed by 2 stops and overprocessed by 1 stop. The
highlights became compressed in the yellow and magenta layers, so pure whites
appeared pinky orange and shadow tones contained a strong cyan/blue cast. Most of
the mid to highlight detail (like skin tones) got compressed or lost. It was a very

Adobe Photoshop 7.0 for Photographers
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Figure 14.1 The C-41 film processed in E-6 chemicals cross-processing color effect.
Client: West Row, Leeds.
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Coloring effects
385
Figure 14.2 The C-41 film processed in E-6 chemicals cross-processing color effect.
Model: Ane Linge. Photograph by Thomas Fahey.
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Adobe Photoshop 7.0 for Photographers
386
Channel Mixer adjustments
As the Photoshop program develops, so you adapt your way of working. The Chan-
nel Mixer can achieve the sort of coloring effects that once could only be done with
the Apply Image command. The Channel Mixer is an interesting image adjustment
tool, which alters the image by swapping color channel information, sometimes pro-
ducing quite unique and subtle color adjustments which cannot necessarily be achieved
with the other color adjustment tools. Controlling the Channel Mixer is no easy task.
The example here shows you how to make a photograph appear to have been taken at
sunset and make the scene appear to have richer, golden colors.
1 This image is correctly color balanced, but it
lacks the drama of a golden warm sunlit image.
One answer would be to adjust the overall color
balance by applying a curves correction. The
Channel Mixer, however, offers a radically
different approach, it allows you to mix the color
channel contents and does so on-the-fly.
2 Examine the Channel Mixer settings shown be-
low. The main color enhancement occurs in the

ent Fill. It doesn’t matter which gradient loads
to start with. Close the gradient dialog and
change the blend mode for the Gradient Fill layer
to Overlay and maybe reduce the Opacity per-
centage down to 66%. Now double-click the
Gradient Fill layer (I also selected the radial gra-
dient option) and choose a suitable color gradi-
ent. In this example I chose Blue, Red, Yellow and
I checked the Dither checkbox.
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Adobe Photoshop 7.0 for Photographers
388
2 If the gradient was seen in
Normal blend mode it would
look like this. But because it is
set to Overlay blend mode we
get a nice colorized effect as
shown in the next diagram.
3 When the Align with layer
checkbox is left unchecked and
you move the cursor over to the
document window, it will change
to become a move tool and en-
able you to position the gradi-
ent anywhere you please in the
image. To change gradient set-
tings, click on the gradient bar in
the Gradient Fill dialog. You can
use the Scale setting to scale the
proportions of the gradient.

Darken. Before I did this, I loaded the blue channel as a selection. The Blue channel
contains the most contrast between the sky and the trees. When a selection is active
and you add a new fill or adjustment layer, or you click on the Add layer mask
button, a layer mask is automatically added which reveals the selected areas only. As
with adjustment layers, fill layers can be adjusted on-the-fly while retaining the layer
masking.
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Adobe Photoshop 7.0 for Photographers
390
1 The before picture contains a cloudy sky. Sample
colors from the top of the sky and from the horizon
to set the foreground and background colors.
2 Load the blue channel as a selection and click
on the Create new fill button at the bottom of
the Layers palette to add a new gradient fill layer.
The Gradient Fill dialog opens. Click OK to add
a new layer using the Foreground to Background
gradient at the angle shown. Then set the fill layer
to Darken blending mode. The pre-loaded selec-
tion will have added a layer mask to hide the
tree branch outlines.
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Coloring effects
391
Overlay blending mode at 40%.Normal blending mode at 45%.
Figure 14.3 The above examples show how various types of gradient layers can be applied to a color
image as a Gradient Map and how the original photograph can be radically colored in many different
ways. The Noise gradients can look very interesting as well. In most cases, I have discovered that it
pays to fine tune the smoothness and shape of the gradient using the gradient edit options and also to
experiment with the layer blending modes.

symbol reopens the Layer Style dialog.
Drag and drop the ‘Effects’ layer to copy the effects to another layer.
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Layer effects
393
Drop Shadow
As you can see, there are quite a range of options associated with each layer effect.
The Drop Shadow uses the Multiply blending mode to make the shadow with the
default color set to black. Now obviously you can change these parameters, so the
effect can become something like a drop glow instead, applied using any color you
want and with varying opacities. Below this is the angle setting, where you can
either enter a numeric value or use the rotary control to manually set the shadow
angle. The Use Global Angle comes into play when you want to link the angle set
here with those used in the Inner Shadow and the Bevel and Emboss layer effects
and that of any other Layer Styles layers. Deselect this option if you want to set the
angles independently. You can also adjust the drop shadow angle and position by
simply dragging with the cursor in the document window area. Below this are the
shadow distance and blur controls.
Inner Shadow
The Inner Shadow controls are more or less identical to the Drop Shadow effect. The
only difference being that this applies a shadow within the layered type or object
area. The result may appear to be either that of a recessed shadow or will give a
convex 3D appearance to the layer object. It all depends on the angle you choose and
the size and distance of the shadow. The shadow and glow effects feature a Noise
slider. At one level this will reduce the risk of banding, but the noise can also be used
to add a grainy texture to your layer style.
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Adobe Photoshop 7.0 for Photographers
394
Outer Glow and Inner Glow

Pattern Overlay
Select a saved pattern from the presets. The opacity and scale sliders will modify the
appearance of the overlay pattern. Use ‘Link with Layer’ to lock the pattern relative
to the layer object.
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Layer effects
397
Stroke
The Stroke effect applies a stroke to the outline of the layer or text with either a
color, a gradient or a pattern. The options in this dialog are similar to those in the
Edit > Stroke command, except as with all layer effects, the stroke is scalable and
will adapt to follow any edits or modifications made to the associated layer.
Color Overlay
This Layer effect will add a color fill overlay to the layer contents. You are able to
vary the opacity and change the blending mode.
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Adobe Photoshop 7.0 for Photographers
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Applying layer styles to image layers
The illustrations opposite show how you can add layer effects and styles to image
layers. Layer effects operate in the same way as adjustment layers do – they create a
live preview of the final effect and only when you flatten down the layer are the
pixels modified and does the effect become fixed. Layer effects are not scalable in
the same way as the image data is. If you resize the image the Layer effect settings will
not adapt, they will remain constant. If you go to the Layer menu and choose Layer Style
> Scale Effects, you will have the ability to scale the effects up or down in size. The layer
effect parameters in Photoshop are now large enough to suit high-resolution images.
In the Layer Styles dialog you can select or deselect the global angle to be used by all
the other layer effects. Although normally the effects work best when the same glo-
bal angle is used throughout (the global light setting can be established in the Layer

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Layer effects
399
1 Layer effects can be used to add glows and
shadows to a type layer but Layer effects can
work equally well on pixel image layers too. An
EPS logo is first imported into Photoshop using
the File > Place command. After resizing, hitting
the Return or Enter key will rasterize the vector
art as an image layer. A series of Layer effects
were applied to the layer to create a new layer
style.
2 In more detail, Bevel and Emboss, Inner Glow
and Inner Shadow Layer styles were applied to
the image layer. The global angle settings were
deselected so that the Inner Glow angle was
separate to the Bevel and Emboss angle. Note
that the angle controls in the Bevel and Emboss
dialog contain adjustments for both the lighting
angle and the attitude of the light source.
3 If a layer mask is added to the layer you can
then mask out portions of the layer contents. The
combined layer effects in the layer style will adapt
to follow the new contours and update as the layer
contents change. When painting in the layer mask,
the layer style adapts to follow the mask outline.
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