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Brightening and neutralizing the eyes


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Brightening and neutralizing the eyes

In this exercise we are going to further modify our image using an adjustment layer. You may recall in the previous exercise that we took an image from photographer Sharon Dominique, this image right here in fact, and we went ahead and added a pass of Gaussian Blur as a Smart Filter. Then we changed the Blend mode that's assigned to the Gaussian Blur Filter to overlay in order to get this heightened contrast skin smoothing effect, and then we relegated the effect to the lightest details inside of the image using a Luminance Mask that we grabbed from the red channel, from the image's own red channel.
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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

Brightening and neutralizing the eyes

In this exercise we are going to further modify our image using an adjustment layer. You may recall in the previous exercise that we took an image from photographer Sharon Dominique, this image right here in fact, and we went ahead and added a pass of Gaussian Blur as a Smart Filter. Then we changed the Blend mode that's assigned to the Gaussian Blur Filter to overlay in order to get this heightened contrast skin smoothing effect, and then we relegated the effect to the lightest details inside of the image using a Luminance Mask that we grabbed from the red channel, from the image's own red channel.

Now in this exercise we need to take care of the negative repercussions of our modifications here. Notice her eyes, this is the original version of the eyes if I turn off Smart filters inside the Layers palette, and incidentally, if you are just joining me, I am working inside of an image called Luminance mask.psd, which is found inside the 12 Specialty folder. So check out her eyes, notice that her eyes have a fairly neutral color balance associated with them. They are little bit warm, but not nearly as warm as they become after we apply the Smart Filter. So they end up warming up considerably, and I don't want that. I want to bring back the neutral color that was originally associated with the eyes.

I could either dig into that Luminance Mask right there, which I can get to by Alt+Clicking or Option+Clicking on the Filter Mask icon here inside the Layers palette, and I could make the eyes black, and that would carve a hole into the Gaussian Blur effect, so that we are revealing the original eyes, so that's one way to go. The only problem is then we are harming that mask. At the end of the previous chapter I was telling you I hate to apply those kinds of destructive modifications to masks if I can avoid it. In this case I can't take advantage of a knockout layer the way I did back at the end of the last chapter, because you can't create knockout layers here inside of the Smart Filter's stack. So instead, I am going to apply an adjustment layer. So I am going to go ahead and Alt+Click or Option+Click on that layer mask icon again to return to the full color composite image, and then I am going to select one of these eyes using the Elliptical Marquee tool, wonderful tool inside Photoshop. So I am going to switch over from rectangular to elliptical marquee, and I am going to drag around the eye like so. I am using the Spacebar in order to get it in exactly the right position, so you can see I am selecting the left eye, her right of course. And I do want to be as accurate as I can, because she's got these big beautiful eyes here, so I want to treat them as gingerly as possible.

So I have selected the top edge of the eye. Now I am going to press the Shift and Alt keys or the Shift and Option keys on the Mac, and I am going to drag down like so in order to find an intersection of these two marquees. So I can basically describe a loss in shape around her eyes, like so. So I go ahead and keep the intersection of those two shapes. Once again, that's a Shift+Alt+Drag or Shift+Option+Drag on the Mac. And now that I have established a basic selection, I don't want to add the other eye at this point, because well I could add another shape by Shift+Dragging like so, how am I going to find the next intersection, if I do a Shift+Alt+ Drag at this point or Shift+Option+Drag, then I get rid of the other eye.

So we'll do one eye at a time, I'll go ahead and back-step a couple of steps here by pressing Ctrl+Alt+Z or Cmd+Option+ Z on the Mac a couple of times in a row. Now let's add our adjustment layer. I am going to press-and-hold the Alt key or the Option key on the Mac and click- and-hold on this black-white icon and choose the Levels command. The reason I am pressing the Alt key or the Option key is, so I can name this layer as I create it. I'll just go ahead and call it eyes. I have now released the Alt or Option key incidentally. Now I'll click OK in order to create that new layer, and notice that even though the Smart Filter was active just a moment ago, the adjustment layer pops on top of the Image layer in front of the Smart Object layer.

Now adjustment layers, the great thing about them is they are equally applicable to layers and smart objects inside of Photoshop, so we can't heap an adjustment layer onto a filtered, a smart filtered smart object inside the program. So I am going to make some changes on a channel-by-channel basis here. I am going to go to the Red Channel and I do want to increase the brightness of the eyes in the Red Channel, just not too much. I am going to go ahead and take this White Point value there, and I am going to press Shift+Down Arrow to reduce it to 245? and you will see that the eyes get slightly more red, or at least this eye on the left-hand side will. The eye on the right-hand side is deselected, so it won't change.

Now I am going to press Ctrl+2 or Cmd+2 for the Green Channel and I am going to reduce that value. Notice it stays active, I am going to press Shift+Down Arrow three times in a row to reduce that value to 225, so then I am adding a lot of green to the eye, check it out here. And now we want to add some blue, I will press Ctrl+3 or Cmd+3 on the Mac, tab my -- oops! I was already at the value, I didn't need to tab anywhere. I'll Press Shift+Down Arrow four times in a row this time, in order to take that value down to 215, and you can see how much more luminous the eye is at this point.

I am feeling like pushing my luck a little bit, so I am going to press Ctrl+Tilde or Cmd+Tilde on the Mac to return to the RGB Composite image up here in the Channel option, and I am going to take the Gamma value up in notch. I went ahead and clicked inside that Gamma value and now I am pressing Shift+Up Arrow in order to raise the value to 1.1, and then starts lightning the pupil a little bit, so I'll click in the black point value and take it up to 10, by pressing Shift+Up Arrow as well. That looks pretty darn good to me, a nice bright eye going on, so click OK in order to accept that modification. Here's before without that layer, here's after with layer, and you can see that the eye doesn't brighten up. Now it has a little bit of a harsh edge associated with it, so let's go ahead and adjust the layer mask that's associated automatically with the layer, using the Brush tool. I am going to go ahead and grab the Brush tool here inside the toolbox and you want the mode to be set to Normal. You want to be working with a small brush, mine is about 30 pixels, very soft as well. Make sure that the foreground color is black as it is. Opacity and Flow should both be set to 100%, and now I am just going to click in this little fleshy part of the eye in order to paint it away. That's all I am going to do for now.

All right, let's move over to the other eye and let's select it using the Elliptical Marquee tool, and I want to avoid any possibility of auto-scrolling, so I am going to try to give myself room to work. There is the first of the three ellipses that I will use to describe this shape. The second is here, notice that her eyes sort of slants downward on this side, and I might want to go ahead and reduce the size of that ellipse a little bit so that we have less of a corner at the top of the eye. I do want to avoid any corner up there if I can. And then I'll go ahead and Shift+Alt+Drag or Shift+Option+Drag like this, in order to find the intersection of these two areas as well.

So these are all, I started off by dragging with the Ellipse tool and then I am Shift+Alt+Dragging or Shift+Option+ Dragging on the Mac for the other two ellipses. And I end up getting -- well, let's bring it down just a little bit here. Even though that cuts into her eyelids slightly, about here is where I wanted I think. Now I'll go ahead and release, if I ever decide I want to release there. That's what I want, all right, good. That's the final eye shape at least where the selection outlines are concerned. The layer mask for the adjustment layer is active, my background color is white, so I'll just press the Backspace key or the Delete key on the Mac in order to fill that selected area with white, and you can see as a result that we brightened the eye. This is before, and this is after. So we now have a brighter, cooler eye as well.

Now I am going to get the Brush tool, and this time I want to paint down into the eye, so I want to add to the affected area. I am going to press the X key to make my foreground color white, and then I am just going to paint right there in order to paint some eye in, going into that fleshy zone down there. So I just clicked right there, by the way, because I keep moving my brush around, just want you to know. All right, so those are the modified eyes, let's go ahead and zoom in like that. Thanks to this adjustment layer right there. We probably want to make a few slight further adjustments here, and we are going to make those adjustments in the next exercise.

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