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Simple blending mode question.



  • David Tillett
    Great answers

    Sorry James, it might seem a simple question to you but to me it is not entirely clear exactly what you are trying to achieve.

    Are you trying to create a sort of photo test strip with one side the C200 applied to just the shadows, Provia 100 in the middle section applied to just the midtones and Velvia 50 applied to the highlights on the other side?

    Or are you trying to get C200 applied to all the shadows but only at 25% strength, Provia 100 applied to midtones at 50% strength and Velvia 50 to highlights at 25% strength?

    I think that whatever you do you will need to have each version as its own layer in On1. Probably easiest to export the photos you have as Tiffs and then select these 3 in Browse and click the open as layers icon on right hand side.

    You may also need a basic version as the bottom layer to fill in any gaps where the coloured versions are not being applied.

    There are two ways you can restrict the blending to highlights, midtones and shadows.

    - on each layer create a luminosity mask and then adjust the levels and windows so that only the right portion is let through, you can view the mask while doing this to get the right values. This has to be done by eye as not possible to enter any values into Luminosity mask settings

    - other way is to make use of the Apply To options in blending. Click on the gear icon in top right hand corner of a layer, adjustment or effect to reveal these. The standard ranges for highlights midtones and shadows can be fine tuned using the protect sliders. There is no standard way to view which areas are being impacted but there is a way around this. Create a local adjustment and select paint with colour and set colour to something strong like magenta. Invert the mask so that whole image turns this colour. Then adjust the Apply To and Protect settings so that the colour gets restricted to the required tones. The Protect Sliders do have numeric values which can be copied down and then used to set them when blending in the layers. The local adjustment can be deleted once you have done this.

    If you have a test image that just shows a tone gradient or tone zones then you can use this to get the values.

    If you want to achieve something like the first option then set up the appropriate tones in the blending options for each layer and then add a gradient mask to restrict it to the correct part of the image.

    If it is the second approach then again set the appropriate tones up in the blending options and then reduce the layer opacity as required.

    Once you have got the blending right then your could stamp the different layers if you want to do some more adjustments on the combined image.

    Once you are happy then just export the image as a Tiff. Clicking done or returning to Browse will save a new .onphoto file which can then be reopened in On1 if you want to make more adjustments.

    If I have totally misunderstood what you are trying to do then if you can be more specific then I can see if I can come up with something else. Note that I have never tried what I have suggested but I have got a set of local adjustment styles set up that use both luminosity masks and apply to adjustments to target particular tone zones, with the paint with colour fudge for the latter. So that bit I do know works.

  • James Crockett

    Think of it as a test strip. C200 applied to all the shadows at 100% strength, Provia 100 applied to all the midtones at 100% strength, and Velvia 50 to all highlights at 100% strength. That is what the final photo will use.

    I am using 25% of a photo being made up of shadows, 50% of a photo being made up of midtones, and 25% of a photo being made up of the highlights as a base reference thought. As a alternate example, I know a night photo would have a higher % of shadows.

    Thanks for your reply.


  • David Tillett
    Great answers

    In that case then creating Tiffs of each version and loading those in as layers with a basic version without colour adjustments as an additional bottom layer.

    Having done a quick test I think that the best way to target the highlights, midtones and shadows would be via a luminosity mask based on the bottom layer. Adjust the Windows sliders to make the targeting and then the levels to adjust the brightness of the mask to ensure that the colours come through.

    If this colouring is something that you are planning to do a lot of have you considered using LUTs? Several LUTs can be loaded as effects and masked as above without the complexity of creating layers.

    I am sure that there are film emulation LUTs around for the types of films that you are using. Or you could create your own based on the edits you have made if you have access to Affinity (and it can be downloaded for a trial). This has a feature called Infer LUT that can create a LUT based on current image and a reference image. If you create the 4 Tiffs you would use as layers in my method above then you can load a film emulation version into Affinity and then immediately infer a LUT against the base version of the image, no need to actually do any editing in Affinity. Once the LUTs are created you can used them on any image.

  • James Crockett

    Using LUTS is how I am getting the base colors. Then I process in post to my taste. The final step is blending them and some post cleanup if needed. I do have Affinity and posted the same question on their board.

    Obviously, I have never done this. But I do want to see what the experiment looks like.


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