Doug Kerr
Well-known member
For many operations, Photoshop affords as a choice of numerous "blend modes". A blend mode basically define the rules by which, for example, the color of a "paint" used to paint a swath across an existing image combines with the existing color at each pixel location to give the new color at that location.
A second kind of operation to which blend mode is pertinent is an adjustment or filter, as for example unsharp mask. These functions generate an "amendment" to the image, which can be combined with the initial image to produce an adjusted image.
The most common blend mode - the one that is in effect if we take no steps to invoke a different one, is called normal. Another one we often hear of using (especially in connection with adjustments and filters) is luminosity. The general concept of this is that, regardless of the chromaticity of the adjustment, only the "luminosity" of the exiting colors is changed.
But exactly what does that mean, and is it even so?
I've done a bit or reverse engineering in this regard, and I'll summarize my findings here. My actual testing was done in the "overpaint" context (not, for example, for an "adjustment") - it is practical to test for the former, and very tough for the latter.
My guess is that the general principles I describe are equally applicable to the "adjustment" situation, but there are some additional wrinkles there - such as the possibility that the coordinates of the "adjustment" may have negative values - that can tangle the matter up.
That having been said, this seems to be the scoop on the luminosity mode.
The normal blend mode
First, to help establish the frame of reference, I will describe the working of the normal blend mode. Following the context in which I did my study, I will speak of the "background"color, the "paint" color, and the "resulting" color.
I will use the symbol C to stand for R, G, or B, for situations in which all three follow identical equations. That way, I don't have to write the equations three times. I will use the suffix "b" for the coordinates of the background color, "p" for the paint color, and no suffix for the resulting color.
The equations will take into account our ability to set an opacity for the operation. Although we normally set this in percent, with a range of 0% to 100%, in the equations, I will assume a scale of 0-1, and I will use the symbol K. Simply, when K=1 we get the "full" effect of the operation, when K=0 we get no effect. For K=0.5, we get "half the effect".
So when we paint, the R, G, and B coordinates of the resulting color at each pixel are given by:
C=(K*Cp)+((1-K)*Cb)
Essentially, if K=1, the paint color is what we end up with. If K=0, the paint does nothing - it is completely impotent.
The luminosity blend mode
1. In this mode, the "paint", regardless of its actual color, acts in every respect as if it were gray.
Its "effective" coordinates (suffix "e") are:
Re=Ge=Be= (76R/255)+(150G/255)+(28B/255)
Note that the relative luminance of this "effective paint color" is not the actual relative luminance of the actual paint color; this is a "pseudo-luminance".
Thus if we paint with the color R,G,B = 255,127,127, it acts in every way as if we paint with the color 165,165,165.
2. The background color is amended by the paint's effective R/G/B value and the opacity in effect. To overall equations are complicated (I haven't completely reverse-engineered them), but the punch line is that the hue of the result is always unchanged from the hue of the background.
Now, in some cases, the saturation is changed, and in some cases, the luminance, and in some cases, both. This in part comes from the fact that we have an upper limit of 255 for each coordinate of the result color, so there are limits on what can be changed (if we are going in the "upward" direction).
So, it is not necessarily true that an operation in the luminosity blend mode only changes the luminance of the image color. Thus is is not necessarily true that it keeps the chrominance the same. Nor that it keeps the chromaticity unchanged (another possibility). What is true is that it does not change the hue.
Best regards,
Doug
A second kind of operation to which blend mode is pertinent is an adjustment or filter, as for example unsharp mask. These functions generate an "amendment" to the image, which can be combined with the initial image to produce an adjusted image.
The most common blend mode - the one that is in effect if we take no steps to invoke a different one, is called normal. Another one we often hear of using (especially in connection with adjustments and filters) is luminosity. The general concept of this is that, regardless of the chromaticity of the adjustment, only the "luminosity" of the exiting colors is changed.
But exactly what does that mean, and is it even so?
I've done a bit or reverse engineering in this regard, and I'll summarize my findings here. My actual testing was done in the "overpaint" context (not, for example, for an "adjustment") - it is practical to test for the former, and very tough for the latter.
My guess is that the general principles I describe are equally applicable to the "adjustment" situation, but there are some additional wrinkles there - such as the possibility that the coordinates of the "adjustment" may have negative values - that can tangle the matter up.
That having been said, this seems to be the scoop on the luminosity mode.
The normal blend mode
First, to help establish the frame of reference, I will describe the working of the normal blend mode. Following the context in which I did my study, I will speak of the "background"color, the "paint" color, and the "resulting" color.
I will use the symbol C to stand for R, G, or B, for situations in which all three follow identical equations. That way, I don't have to write the equations three times. I will use the suffix "b" for the coordinates of the background color, "p" for the paint color, and no suffix for the resulting color.
The equations will take into account our ability to set an opacity for the operation. Although we normally set this in percent, with a range of 0% to 100%, in the equations, I will assume a scale of 0-1, and I will use the symbol K. Simply, when K=1 we get the "full" effect of the operation, when K=0 we get no effect. For K=0.5, we get "half the effect".
So when we paint, the R, G, and B coordinates of the resulting color at each pixel are given by:
C=(K*Cp)+((1-K)*Cb)
Essentially, if K=1, the paint color is what we end up with. If K=0, the paint does nothing - it is completely impotent.
The luminosity blend mode
1. In this mode, the "paint", regardless of its actual color, acts in every respect as if it were gray.
Its "effective" coordinates (suffix "e") are:
Re=Ge=Be= (76R/255)+(150G/255)+(28B/255)
Note that the relative luminance of this "effective paint color" is not the actual relative luminance of the actual paint color; this is a "pseudo-luminance".
Thus if we paint with the color R,G,B = 255,127,127, it acts in every way as if we paint with the color 165,165,165.
2. The background color is amended by the paint's effective R/G/B value and the opacity in effect. To overall equations are complicated (I haven't completely reverse-engineered them), but the punch line is that the hue of the result is always unchanged from the hue of the background.
Now, in some cases, the saturation is changed, and in some cases, the luminance, and in some cases, both. This in part comes from the fact that we have an upper limit of 255 for each coordinate of the result color, so there are limits on what can be changed (if we are going in the "upward" direction).
So, it is not necessarily true that an operation in the luminosity blend mode only changes the luminance of the image color. Thus is is not necessarily true that it keeps the chrominance the same. Nor that it keeps the chromaticity unchanged (another possibility). What is true is that it does not change the hue.
Best regards,
Doug