A lot of people have made this request, and the answer is no. Adjustment layers work directly on the pixel, but Shadow/Highlight needs to evaluate contrast in large areas. If you change a pixel affected by an adjustment layer, then it’s a simple mathematical process to convert it using the adjustmetn layer. Shadow highlight would have to evaluate a large area, or even the entire image, every time you painted or ran a filter or modified an adjustment layer or hid a layer or showed a hidden layer. Even on a fast machine that would create a noticible slowdown on even a screen-sized image.
Why not duplicate the backround and do shadow/highlight on it?
Otherwise, I now do all my globals at 16 bit and not worry about it.
Why not duplicate the background and do shadow/highlight on it?
That is a work around.
Otherwise, I now do all my globals at 16 bit and not worry about it.
What? Do most people work in 16 bit?
I love adjustment layers, especially when working with a client.
Scott, thanks for the explanation. makes sense to me.
I don’t know about most people, but I now scan in 16 bit.
Scott, I think you put your finger on a slowdown. I assume that if I do S/H in a dupe layer, all the caveats mentioned above apply.
If so, the best thing for me to do is save the basic scan, do the s/h trip on a copy and not do a dupe layer. That way, if I don’t like it, I can go back to the original.
Actually, the dupe layer is sort of superfluous as I can’t get at the individual s/h/controls anyway.
