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The Add mode in action


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: The Add mode in action

All right gang, if you have been working along with me here then you know that our goal in life or at least our goal in this small portion of our lives is to see the Add and Subtract modes in action combined of course with the Calculation command, and that's what we are going to do, and when I say 'Action' I mean with this guy here Mr. Superhero hair.psd found inside the 14 Calculations folder. An image, that is a by-product of the work of photographer Chris Schmidt of the U.K. All right, so we can generate a mask for this guy, an Alpha channel version of this guy that is going to work for us using either the Add or Subtract mode.
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  1. 2h 12m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 9s
    4. Luminance blending
      8m 39s
    5. Forcing the visibility of underlying layers
      4m 3s
    6. Adjusting the appearance of clipped layers
      4m 33s
    7. Selecting a Blend If channel
      6m 11s
    8. Enhancing highlights by hiding them
      5m 8s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 38s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 34s
    17. Matching colors
      9m 12s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 49s
  2. 2h 32m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 17s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 2s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 0s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 44s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 15s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 26m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 21s
    3. Brightening and neutralizing the eyes
      8m 21s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 3s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      5m 59s
    9. Refining the color mask
      6m 39s
    10. Adjusting the edges around fabric
      7m 55s
    11. Perfecting hair
      9m 34s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 47s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 45s
    21. Applying the edge mask
      6m 1s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 48s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 9s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 0s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 42s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 43s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 38s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 17s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 8s
    20. Making pupils match
      4m 7s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 36s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 21s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 32s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 24s
    13. Comparing two channels with Difference
      5m 23s
    14. Enhancing the contrast with Curves
      9m 10s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 0s
    19. Painting away the face and chin
      4m 52s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 34s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 24s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 14s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      5m 59s
    12. Combining paths in a vector mask
      7m 54s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 9s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 16s
    7. Roughing in an object mask
      6m 48s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 52s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 8s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 54s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 28s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 42s
    21. Building the flame mask
      9m 21s
    22. Amplifying the flame
      3m 52s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 24s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 28s
    32. Subtracting and merging the beak
      11m 5s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 49s
    2. Scanning line art in 8-bit and 16-bit
      5m 8s
    3. Measuring the 16-bit difference
      8m 8s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 12s
    6. Editing in Camera Raw, opening in 16-bit
      8m 21s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 17s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      5m 59s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 24s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 31s
    5. Using a two-channel displacement map
      6m 27s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 33s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 3s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 4s
    14. Making a repeating watermark pattern
      9m 21s
    15. 3D embossing with Lighting Effects
      10m 47s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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Watch the Online Video Course Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Design Photography
Deke McClelland

The Add mode in action

All right gang, if you have been working along with me here then you know that our goal in life or at least our goal in this small portion of our lives is to see the Add and Subtract modes in action combined of course with the Calculation command, and that's what we are going to do, and when I say 'Action' I mean with this guy here Mr. Superhero hair.psd found inside the 14 Calculations folder. An image, that is a by-product of the work of photographer Chris Schmidt of the U.K. All right, so we can generate a mask for this guy, an Alpha channel version of this guy that is going to work for us using either the Add or Subtract mode.

Turns out that the Subtract mode is probably going to work a little better for us, but we might as well try both, I figure, just so that we have some hands-on experience. All right, so let's go ahead and switch in my case because I have so little screen real estate to work with. I am going to switch to the absolute Full Screen mode so that I don't have those scrollbars showing up at the bottom window and I can see more of the vertical image at a time including all the way to the top of the head. I really need to see that part because that's the part that's in the worst shape where masking is concerned.

Now let's go up to the Image menu and choose Calculations command, and let's wander through the channels here, and we can wander through the channels using Source 1 by changing Source 1, because Source 1 is on top of Source 2 as long as Blending is set to Normal and Opacity is set to 100%. So go ahead and make that occur first. And now we can see the Red Channel. So this is another way just to go through the channels as opposed to having to click on each one of them out here outside of the Calculations dialog box. All right, so we are doing everything inside the dialog box in other words.

This is the Red Channel, it looks pretty darn good. I should move the dialog box over just a little, and actually, you know what, I will move the image over a little bit too because we really need to keep an eye on the contrast between the hair and the background. And it's pretty darn and good at this point, obviously, it's hopeless at the top of the image, but that's going to be the case throughout the channels. Now let's try the Green Channel just to get a sense of what's going on, and now it looks pretty darn good. It looks better, we've got a high degree of contrast going between hair and background that probably if I was generating a mask from a single channel, Green is what I would select for this image. But let's move our way down to the Blue Channel because really we haven't seen it yet, and it looks like this.

Now the Contrast is weaker between the hairs and the background, much weaker in fact, but one is the Blue Channel have going for it empirically if you sort of take a look at it here. What it has going forward is it very accurately imparts the degree of difference and focus between the different hairs. So for example the foreground hairs are very, very dark; the background hairs are very, very light, almost indistinguishable from the background blue, and we need that in order to be able to accurately generate the various levels of focus associated with his hair. So we need that Blue Channel. We also like the Green Channel, so let's work with both of them.

Now in each case the foreground image is showing up darker than the background image. So we need to invert the channel. So let's go ahead and set the top channel to Green, and we will set it to Invert of course, and that's what it looks like when its inverted and then we will set the bottom channel, the channel underneath the Blue and we will invert it. Now we didn't make any change to the Composite View here, and that's because Blending is set to Normal. So we are only seeing the Source 1 channel. Of course we are not changing the Source 1 image. It's going to be Superhero.psd, and then actually happens to be the image that I can choose at any rate, and then layer is going to be background because there is only one layer inside this image, the Background layer.

All right, now let's go down to Blending; let's just give everybody else a slip. If you wanted to fool around with the channels, we would start with Hard Light just as I was showing you way back at the outside of this chapter and then we would try out the other modes by arrowing through them here on the PC or selecting them manually on the Mac. However, I know that I am going to be working with Add or Subtract. Now Add and Subtract are simpler blend modes that most of the other blend modes. We know that Add is the same as Linear Dodge at face value because they both add luminance levels. However, where they get more complicated because adding and subtracting are pretty simple formulas, is with the Scale and the Offset values that gives us control over the blend mode process. And actually between you and me it'd be great if we had those kind of controls with all of the blend modes. Although, it really would up the complication, quite considerably I think, but still my goodness, the stuff we would be able to get done.

Anyway, let's go with Add and it goes ahead and adds the Luminance levels. This is the same effect we would get with the Linear Dodge mode. Now then I could say, well, okay, that's too high. So let's go ahead and take the Offset value down, and what I typically do is I select the Offset value and then I start pressing Shift+Down Arrow. When I am working with Add, when I am working with Add, I take the Offset value down, when I am working with Subtract I take the Offset value up because you are trying to balance the equation. So you Subtract from Add you Add to Subtract. All right, so I am going to Shift+Down Arrow with the Offset value until I get something that looks a little more reasonable. So we have a higher degree of contrast between the background. We are really trying to darken up this background while keeping the hairs nice and light. And we can take this value pretty darn low because the hairs are very, very light and the background is pretty darn light as well.

Now if we start finding that we have too much choppiness between the hairs and the background, in other words; we have got too much noise; we have got too many jaggies; we have got too much contrast in general, then we can soften things using the Scale value. Now the Scale value is a little more difficult to work with, because notice, if I just start pressing the Up Arrow I really can't go down, the Scale value varies between 1 and 2. But if I start pressing the Up Arrow I am changing the value in 1 -- what is that 1000th of an increment here, that's craziness. It is just so small, and even if I press Shift along with the Up Arrow, I am only adding 100th of a divider here.

And so that's not changing things very dramatically or very quickly for me, but what I can do is I can press Shift and the Up Arrow key and hold, and then you are going to start making some big changes very quickly. All right, so Shift and Down Arrow, hold as well and you will see that value scale along right there, and then at this point you might say, well gosh, something like I think a value of something around the neighborhood of 1.4 does a good job of softening the effect, but now I have over-darkened it because it's Offset down too far. So let's Shift+Up Arrow this value. You can also just press the up or down arrow key if you prefer to vary the value and increments of 1, but I prefer to work in increments of 10 because that gets the job done quicker essentially.

All right, so let's go with these values right here, Offset of -90, so Add of course; we've got the Add Blend mode; we've Offset -90; we've got Scale of 1.4. So we are darkening the results of the Add equation here, and we are also scaling it so that we have softer transitions. Not way soft transitions, just softer transitions. So we don't have too many jaggies going on. And then note of course Channel just to make sure Channel is set to Green Invert. This channel is set to Blue Invert, and we are done. Go ahead and click OK and that becomes our Add Channel. Let's go ahead and name it, so I will call it Add and then I will call it -90, 1.4, and I know that that means an Offset value of -90 because it couldn't mean a scale value of -90 and a Scale value of 1.4.

All right, so there the deed is done and this is the Alpha Channel that we come up with at any rate right here. In the next exercise we will try something similar with a Subtract mode and we will decide which of the two Alpha channels we like better.

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