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Adding base colors and adjusting fuzziness

From: Photoshop CS4 One-on-One: Mastery

Video: Adding base colors and adjusting fuzziness

Let's see how we use the dialog box and its friend, the Eyedropper tool, in order to define hyper accurate selections and this is a great masking tool. So I was telling you that you just go ahead and click with the Eyedropper tool in order to define the base color for your selection and just as with the Magic Wand tool, the Color Range command looks for pixels that are similarly colored. But it goes ahead and selects both adjacent pixels and non-adjacent pixels alike. So if you look at the selection preview right here, you can see that the white not only extends into the background behind the hadrosaur, but also into its nasal cavity right there, which is completely surrounded by dinosaur skull. So it goes ahead and selects both non- adjacent and adjacent pixels, something to bear in mind. And you can mitigate that a little bit using this Localized Color Clusters function, which is new to Photoshop CS4. I'll show you that later but for now, here is what I want you to do.

Adding base colors and adjusting fuzziness

Let's see how we use the dialog box and its friend, the Eyedropper tool, in order to define hyper accurate selections and this is a great masking tool. So I was telling you that you just go ahead and click with the Eyedropper tool in order to define the base color for your selection and just as with the Magic Wand tool, the Color Range command looks for pixels that are similarly colored. But it goes ahead and selects both adjacent pixels and non-adjacent pixels alike. So if you look at the selection preview right here, you can see that the white not only extends into the background behind the hadrosaur, but also into its nasal cavity right there, which is completely surrounded by dinosaur skull. So it goes ahead and selects both non- adjacent and adjacent pixels, something to bear in mind. And you can mitigate that a little bit using this Localized Color Clusters function, which is new to Photoshop CS4. I'll show you that later but for now, here is what I want you to do.

Remember how you can Shift-click with the Magic Wand tool in order to add a base color, where you can do the exact same thing using the Color Range command. Now you have these buttons over here, these tools that allow you to add base colors or subtract base colors, ignore them; you don't have to worry about these Eyedropper tools because you can get them on the fly. So you press the Shift key and click, I'm Shift- clicking below the hadrosaur's jaw right there, and I add some more background colors to my selection. You can also Alt-click or Option-click in order to delete a base color from the selection. However, I don't find that works very well in most cases. Over time I have given up on that function essentially because I find it very difficult to predict, because what you are doing is you are saying, okay, go ahead and select colors that are like this one and then select colors that are like this one, but don't select colors that are like this one here, rule them out. That becomes a fairly complex equation for Photoshop to keep track of, even more complex I think for you to keep track of. So instead, here's what I recommend you bear in mind.

Let's say I Shift-click right here inside the dinosaur's orange skull or better yet, check this out. I'll just go ahead and press Ctrl+Z or Command+Z on the Mac to undo that modification. You can Shift+drag with the tool. So if you Shift+drag across the dinosaur's skull, look at that. I went ahead and added a bunch of base colors to my selection with a simple Shift+drag right there, something you can't do with the Magic Wand tool. And just like that, I basically select the entire image. All right, so this one I go to -- I don't want to do that. That's too much; I have added too many colors. So just remember you have one level of undo, press Ctrl+Z or Command+Z on the Mac to undo that last key color and you will go back to your previous selection right there.

Another thing that you can do to integrate more colors or fewer colors even into your selection. You can change this Fuzziness value right here. Now as with the Tolerance value that's associated with the Magic Wand tool up there in the Options bar where the Magic Wand is selected, that Tolerance value is measured in luminance levels and so is Fuzziness. So in this case, I have got a default value of 40 luminance levels going right now and that means that Photoshop is going to select 40 levels lighter and 40 levels darker than each of my base colors. However, instead of absolutely selecting the pixels that are associated with those luminance levels, it's going to slowly drop off my selection over the course of these 40 luminance levels.

So, by time we get 40 luminance levels away in either direction, either brighter or darker, the selection goes away. There is no selection anymore but it gradually declines over the course of those luminance levels, meaning that you get a very accurate organic selection going. So it's nothing like what you get with the Magic Wand tool; it's something much better. And you can modify this setting on the fly. So it's a dynamic adjustment, check that out and you can see the effects of your adjustment right here inside of the preview. So I'm going to go ahead and increase my Fuzziness value let's say up to about 90 for this image right here, and I have selected now most of my background and if you want to check it out in more detail and by the way, you can click or Shift-click directly inside the preview if you want to.

So that's an option as well. So you don't have to do it inside the image window; you can do inside the preview. Also notice you can see the image, if you want to, inside the preview or the selection by which it means the mask view of that selection. You can also control what you are seeing out here in the larger image window by changing the Selection Preview setting. So I might go ahead and set this to Grayscale, so I can see a mask version of my selection so far outside here in the image window and then inside of the dialog box, I might choose to see the image instead.

So a lot of flexibility here, a lot of options available to you. Everything is dynamic; it's just a thing of beauty. Notice that you'll see it reflected right there in the image window as I change that Fuzziness value on the fly. All right, but we are not done. I'm going to show you one more thing that's been added in Photoshop CS4. That's this guy right here, Localized Color Clusters. Stick with me.

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This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27723 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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