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Adding and blending the goldfish


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Adding and blending the goldfish

All right gang of mine, in this exercise, this final exercise of this Mock Magazine cover project, we are going to take this goldfish and we are going to add it to the glass. We are going to put it inside of the glass or so it will appear. So I want you to open this goldfish graphic, it's called Gagne goldfish.jpeg and it's found inside of the 11 layer masks folder, where else would it be and it's called Gagne goldfish because it was captured by Lise Gagne for
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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

Adding and blending the goldfish

All right gang of mine, in this exercise, this final exercise of this Mock Magazine cover project, we are going to take this goldfish and we are going to add it to the glass. We are going to put it inside of the glass or so it will appear. So I want you to open this goldfish graphic, it's called Gagne goldfish.jpeg and it's found inside of the 11 layer masks folder, where else would it be and it's called Gagne goldfish because it was captured by Lise Gagne for

Now this image isn't the same size as the magazine cover so we can't use that duplicate layer trick, we are going to have to just go ahead and copy the fish and paste it in or we could do a drag- and-drop. I am going to do a copy and paste. I am going to do Ctrl+A, Ctrl+C or Command+A, Command+C on Mac to copy that fish to the clipboard. Now I will switch over to the composition thus far which I have gone ahead and named Eagerly awaiting goldfish.psd, If you want to open it on up and catch up with me. If you are still working along inside of your original composition though, stick with it, add a boy, add a girl. This image, by the way, this composition is found of course, inside of the 11 layer masks folder.

Now I am going to go ahead and select the glass shadows layer because that's where I want to put the goldfish, I want to put it right on top of that layer and I will press Ctrl+V or Command+V on the Mac in order to perform the paste. Now I am going to zoom in on the fish and I am going to Ctrl or Command+Drag that fish down to the bottom portion of the glass. Now currently, it doesn't really look like it's inside the glass and we can actually move it down one more layer if we want to put it behind the shadows like so but I don't want it to be there because then it's going to be obscured.

It's better if it's sitting on top of the glass shadows. So we need to create some kind of interaction between the goldfish and the glass of course. But first I want to scale the goldfish; it's too darn large to fit its new environment and any time you are thinking of scaling or otherwise transforming a layer, I want you to stop for a moment and convert it to a smart object because that way all of your transformations will be non-destructive and you can apply as many transformations as you like. Whereas if you don't convert the image to a smart object and you transform it two or more times, you are going to incrementally destroy that layer. So here is what I want you to do right now.

Go ahead and rename this layer fish or something along those lines, then I want you to go to the Layers palette menu and I want you to choose Convert to Smart Object or if you loaded my Deke shortcuts way back in the Preface, then you can take advantage of that ultra useful shortcut at least I think it's very useful, Ctrl+Comma or Command+Comma on the Mac and we are not going to see any difference in the goldfish, it's going to look the same as ever but if you look at the Layers palette, you can see that we have got a little icon down here in the bottom right corner of the layer thumbnail.

So now it's smart object, now you can transform it as much as you want without worrying about it one way or the other. So go ahead and press Ctrl+T or Command+T on the Mac or you can choose the Free Transform command from the Edit menu if you prefer. Then I am going to Shift+Drag this corner handle right here by virtue of the fact that I have the Shift key down, I am going to maintain the original proportions of the goldfish so you can see my width and height values are changing by the same percentage. I am actually going to make it even smaller. So something about this size, 49.5% that's just fine and I will press the Enter key or the Return key on the Mac in order to accept that transformation.

Now as I say, I need to make the goldfish interact with its background, what I want to do is drop out the whites and keep the darker colors inside of this layer. By now you want to know how to do that, you should be immediately thinking of what the proper blend mode is, we don't need a selection, we don't need a layer mask, all we need is Multiply. So press Shift+Alt+M or Shift+Option+M on the Mac in order to apply the Multiply blend mode which drops those whites right out and burns the other colors into the background graphic.

Now let's say I am looking at the fish and I am thinking it's too darn small. Am I going to hesitate to transform it? Absolutely not because I am working with the smart object. I will go ahead and press Ctrl+T or Command+T on the Mac and fantastically, Photoshop remembers how big the image is, it's 49.5% of its former self. So I could just go ahead and change that value if I want to, I could turn on the Link value, for example. I will go ahead and set the bottom right point as the Reference point for the transformation and I will change the width value to let's say 70% and both width and height change in kind because the Link option is turned on. Now I will press the Enter key a couple of times, so the Return key a couple of times on the Mac in order to accept that transformation and we now have a larger fish, you see it's in the feeding at the bottom of this glass a little bit here.

Now the biggest problem I have at this point with the fish is that it's the wrong color. It shouldn't appear gold, it's a goldfish, you know it's the right color for a goldfish but for my composition, its wrong color. I want to go ahead and make it green like the rest of my composition. So I am going to colorize my fish with the use of a Color Overlay blend mode. So go down to the bottom of your Layers palette, click on the fx icon and choose Color Overlay in order to bring up the Color Overlay panel of the Layer Style dialog box and some of you may be thinking, well why didn't you just apply the Color blend mode or the Luminosity blend mode actually to the fish so that we kept the luminance values from the fish when we mixed it with the colors from the glass and I will just go ahead and show you that very quickly just in case you were coming up with that clever thought which is clever by the way.

if I were to however, change the Multiply blend mode to Luminosity so that we drop away the colors and just keep the fish, we would also keep the whiteness. Would we not? So we can't combine blend modes. So that's why I am going to go ahead and undo that modification there and go with the Color Overlay affect instead. So I will go ahead and choose Color Overlay. It does what it always does by default, it goes ahead and fills the entire rectangular layer with red. We don't want that, we want green, so click on the color swatch and then move your cursor into the image and lift a shade of green and you can go ahead and use that shade of green if you want to. I am going to modify mine slightly. I am going to change the Hue value to 120. I am going to change the Saturation to 80 and I am going to reduce the Brightness value to 30.

So those are the values I am working with, if you want to follow along with me, you can also go your own way of course. I am going to click OK now and in order to colorize the layer, I want to change the blend mode to none other than Color so that will mix the color of green, the green color here both its Hue and Saturation values with the Luminance values that are associated with the original fish. Now if you look closely and even if you are not looking very closely at all, you can see that there is a rectangle of green that surrounds the fish that doesn't match the green outside of the fish layer and somehow I need to drop that abhorrent shade of green out of the picture and I can do that using a checkbox in the Blending Options panel.

So click on Blending Options here in this list to switch to the Blending Options panel of the Layer Style dialog box and then notice this check box right here, Blend Interior Effects as Group. What that does is it blends all of the interior effects which includes Satin and Color Overlay and Gradient Overlay and Pattern Overlay and Inner Glow and Inner Shadow and certain kinds of Bevel and Emboss effects as well. It will go ahead and blend those effects in with the layer before the layer is blended with the other layers inside the image. So in our case, if we were to turn it on, the background would go away, notice that that rectangle green goes away and the reason is because we went ahead and colorize the fish before multiplying the fish layer with the background art.

So when you are seeing those weird sort of effects inside of a layer, you might be able to get rid of them by turning this checkbox on here inside the Blending Options panel of the Layer Style dialog box and obviously in our case it's the thing to do, so make sure that checkbox is turned on and then go ahead and click on the OK button in order to accept that effect. And now I am going to move the fish over just a little bit, it does look indeed like it's inside of that glass, it's a wonderful thing. So there is the final version of our composition with glass, with mask text and with a green goldfish. Thanks to the power of layer masks and blend modes as usual inside of Photoshop.

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