Running Linux, 5th Edition - Matthias Kalle Dalheimer [171]
Layers
Layers are a very powerful feature of the GIMP. Think of layers as a way of stacking multiple images on top of each other, affecting each other in various ways. If a layer has an alpha channel, the layers beneath it will show through in transparent areas of the layer. You can control the overall opacity of a layer by using the opacity slider shown in the dialog. Use the buttons at the bottom of the dialog to create, duplicate, and delete layers and to move layers up and down the stacking order. You can assign a name to a layer by right-clicking it and choosing Edit Layer Attributes. Figure 9-27 shows the Layers tab in the Layers, Channels dialog with an image loaded and two duplicate layers created.
Figure 9-23. Contrast-decreasing curve
Recall the image of the car from the curves example. The ground and car looked most interesting with the high-contrast curve, but the sky lost detail with this curve—it looked better with the low-contrast curve because it pulled out detail from the bright sky. Let us try to combine those two approaches. We'll leave the lowest layer alone — it will serve as a reference. Rename the middle layer "Ground" and the topmost one "Sky." Now make only the Ground layer visible, select it, and use the Curves tool to enhance contrast. Then make the topmost layer visible, select it, and apply a low-contrast curve to it. Now we need to blend the two layers together. To do this, we add a layer mask to the topmost layer, but before we do that, we want to get a good starting point for the mask. Use the magic wand selection tool to select as much of the sky as possible without selecting any of the trees, cars, or the ground. Remember that Shift-clicking adds to a selection. When most of the sky is selected, right-click on the topmost layer and choose Add Layer Mask and then choose Selection in the dialog that pops up. Don't worry if the selection doesn't align perfectly at the pixel level with the horizon — we can fix that later. Press Ctrl-Shift-A to discard the current selection—we don't need it any more. Now the Layers dialog should look like Figure 9-28.
Figure 9-24. Channel Mixer
By clicking on either the layer thumbnail or the layer mask thumbnail, you can choose which one of them you want to edit. Choose the layer mask and zoom in on the boundary between the trees and the sky. Now the mask can be adjusted by simply painting on the image with a black or white pen. White makes the sky show through and black makes the trees show through. To see the mask itself instead of the image, right-click the mask in the Layers dialog and choose Show Mask. The result should look something like Figure 9-29.
Figure 9-25. Channel Mixer example
So far we've only been using layers in Normal mode, but there are other modes as well. The other modes make a layer interact with the layers below it in interesting ways. It is possible to make the pixel values in a layer burn, dodge, multiply, and so forth, with the pixel values of the layer below it. This can be very powerful when used properly. Figure 9-30 shows the image from before with a new transparent layer added on top of it. This new layer contains the result of selecting a rectangle slightly smaller than the whole image, feathering the selection with a large radius (10% of the image height), inverting it, and filling out the selection with black paint. The mode of the layer is set to Overlay, which causes a slight darkening of the layers below it around the black