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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Black & White meets the Channel Mixer


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Black & White meets the Channel Mixer

In this movie I want to give you a sense for how you can combine black and white along with a channel mixer in order to take advantage of the best of both features. So here we're looking at that infrared effect that we created a few movies back using the channel mixer. And as you may recall we had posterization problems, and I didn't even address all of them. If you look closely in the upper left hand corner of the image You'll see that there's more posterization in the background, and we have some weird highlight details along the top of the younger woman's hair.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Black & White meets the Channel Mixer

In this movie I want to give you a sense for how you can combine black and white along with a channel mixer in order to take advantage of the best of both features. So here we're looking at that infrared effect that we created a few movies back using the channel mixer. And as you may recall we had posterization problems, and I didn't even address all of them. If you look closely in the upper left hand corner of the image You'll see that there's more posterization in the background, and we have some weird highlight details along the top of the younger woman's hair.

So, I'm going to go ahead and zoom out, and I'm also going to throw away this layer of gaussian blur, because we're not going to need it. We're going to mask those posterized areas away. So I'll right-click on the word Smart Filters, and choose Clear Smart Filters. And then, given that we no longer need the smart object, I'll right click inside the image window with the rectangular tool, and I'll choose rasterize small object. And the reason that's a good idea is because smart objects add to file size, so if you don't need them, don't use them.

Now I'm going to turn off that channel mixer layer and click on it, so that'll create the black and white layer on top. And you can either choose black and white from the black white icon at the bottom of the layers panel or if you have the custom shortcut, press Ctrl+Shift+B or Cmd+Shift+B on the Mac and I'm going to call this guy alt b and w mix and click OK. We could start with the preset infared which does get us someplace actually, however, it doesn't give us the cool effect we were seeing a moment ago and We've got the Posterization again, and very plainly so in the background woman's face.

So I'm going to customize things using the Target Adjustment tool, and I'll start by dragging underneath the younger woman's eye. And that ends up, in my case, highlighing yellows, and I'm going to take that yellows value down to 130. Then I'll click above the eye which should highlight the reds and indeed it does. And I'm going to brighten those reds to a tune of 60 and the only reason I'm working with round values here is so you can easily follow along if you want to. Then I'll drag inside the woman's jacket.

And that in my case, highlights the blues, and I'll take that blues value up to 50 as you can see here, and then from here on I'll just adjust the slider triangles. Now notice, if I crank up the magenta's value, I'm brightening up this background woma's hair, as well as portions of her jacket. We don't want to go as high as 300, that looks pretty ridiculous, so I'm going to take this value down to 70. The greens don't really resonate too much. You can see a little bit of action in the down left corner here, but not too much is going on.

So I'm just going to match that same yellows value which is 130. And then finally, we've got cyans. And I"ll show you where the cyans are located in this image. It's the earring, so if I crank up the scion value we're seeing the ring around that earring, and if I crank it down and it's turning darker. For now I'm going to take it to lets say about a hundred. So these are the settings I'm going with. Red 60, yellow is 30, green is 130, cyan is 100, blue is 50, and finally magenta is 70.

Alright I'll go ahead and hide the properties panel And zoom out from my image once again. And, let's take a look at how we might merge these two layers together. Now if I turn on this channel mixer layer, it's going to make a big huge difference, whereas turning off the black and white layer does nothing. And that's because black and white doesn't have anything to work from after this point, it's just taking a black and white image and making it black and white. But what we can do now is we can mass through the channel mixer layer. So I'm going to click on that layer to make it active.

And then I'm going to drop down to the add layer mask icon and click on it. So we have a layer mass that we can paint inside of. Alright, let's start with the upper left corner of the image. I'll select the brush tool, and I'm going to right-click inside my image here to show you that I have the hardness now set to 0%, and I might take the size value up to 200 pixels to start with. You want to make sure that your foreground color is black, as it is in my case, and then you want to paint away those areas of posterization, including the strange halos that are coming off the girl's hair.

And I'm going to paint inside the background of the woman's face as well because that's pretty heavily posturized. And i might paint down into this region of the image. Scroll down here so I can see more of that out of focus background and paint it away. And I might paint inside of this region a little bit as well. I've got some details up here I need to take care of. So I'll go ahead and paint those regions away. So in other words, we're using the channel mixer layer where we need it, and we're painting it away, where it's essentially causing problems for the image.

I'm also going to paint inside the young woman's face. Her chin, her nose, and up into her forehead, as well. But I want to try and leave the eye alone. In fact, I might have painted over portions of the eye here. I'm going to press the x key and reduce the size of my brush and paint back in on that eye because notice, without the channel mixer layer, if I turn it off, she's got an awfully dark circle around that eye. So I'll go ahead and turn channel mixer back on. It's a little too bright right there at that location, so I'll press the X key to switch back to black, and paint that back in.

And then finally we want the earring to brighten up, so I'll go ahead and paint over it as well. Alright now, at this point I'll just press the M key to switch back to the rectangular marquee. And I want to reduce what's known as the density of this layer mask. That is to say, rather than having the black portion of the layer mask absolutely hide the contents of this layer, I'd like them to mostly hide the layer. And you get to the density value by double-clicking on the layer mass thumbnail here inside the layers panel.

That brings up the properties panel, and notice if I reduce the density value to zero, that changes the entire layer mass back to white, and we are once again seeing the effects of the channel mixer layer across the entire image. And if we change the density value back to 100%, then all of our black brush strokes are returned to black and they're absolutely hiding the effects of this layer. I want to split the difference a little bit so I'm going to click inside that value and press Shift+down arrow three times to reduce the density value to 70%.

Which turns the blacks of the layer mask to dark gray. And it does so temporarily, so you can always come back and change your mind later. Alright, now I'm going to hide the properties panel. And the final thing I want to do is. I want to brighten up that earring a little bit. And I'm going to do that by double-clicking on the thumb nail for the Alt+B and W mix layer. And I'm going to increase that science value dramatically, in fact I'm going to take it up to 260. In order to compensate for what's going on with the channel mixer layer.

Alright, that takes care of it. Now press the F key a couple of times in order to switch to the full screen mode. And zoom out a little bit as well, and just so you can see the difference here. This is the original infrared version of the image, with the dark earring, probably an overly bright face. And all that Posterization in the background. And this is the new smoother version of the image, thanks to a combination of Black-and-White and Channel Mixer working together.

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