Start learning with our library of video tutorials taught by experts. Get started

Photoshop CS3 Channels & Masks: Advanced Techniques

Creating a corrective mask


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Creating a corrective mask

In this exercise, we are going to explore the creation and use of a corrective mask inside of Photoshop. In this case, we want to use the corrective mask to correct wayward hues inside of this face here. This happens to be a photograph of my son, Max, that I shot years ago, now using a low end camera. The name of image is called Average hue.tif, it's found inside the 12 Speciality folder. Now the reason that we have all these wayward hues inside of this image, it's not a function of the actual colorization of my son's face, you will be glad to know but he doesn't simultaneously have these hot pinks and these weired yellows going on inside of this flush. This was a bad reaction on the part of the camera. However, you might be trying to solve for the camera or for real weired skin tones. Either way, the technique that we are about to explore will work for you.
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    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 39s
    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 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    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 1s
    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 45s
    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 16s
    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 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    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 46s
    21. Applying the edge mask
      6m 2s
    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 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    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 44s
    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 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    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 22s
    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 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    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 1s
    19. Painting away the face and chin
      4m 53s
    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 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    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
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    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 10s
    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 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    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 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    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 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    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 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    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 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
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
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Creating a corrective mask

In this exercise, we are going to explore the creation and use of a corrective mask inside of Photoshop. In this case, we want to use the corrective mask to correct wayward hues inside of this face here. This happens to be a photograph of my son, Max, that I shot years ago, now using a low end camera. The name of image is called Average hue.tif, it's found inside the 12 Speciality folder. Now the reason that we have all these wayward hues inside of this image, it's not a function of the actual colorization of my son's face, you will be glad to know but he doesn't simultaneously have these hot pinks and these weired yellows going on inside of this flush. This was a bad reaction on the part of the camera. However, you might be trying to solve for the camera or for real weired skin tones. Either way, the technique that we are about to explore will work for you.

So here is want we are going to do. First, we are going to go over to the Channels palette. Notice that I have an RGB image, of course. I also have a final version of the mask that we are about to create here. I want you to go ahead and grab one of the channels and the best channel, I think, in our case is going to be the Red channel since this a portrait shot. You can explore the others, if you want, but I am just going to go ahead and grab that Red channel and make a duplicate of it by dragging it down to the little Page icon here at the bottom of the Channels palette, and I am going to rename this channel, mask, because that's what it's going to be.

Now with this mask channel selected, I am going to go up to the Image menu and I am going to choose Adjustments, and instead of choosing the Levels command, I am going to choose the command that's going to go me a little bit more control over the process of increasing the contrast of the image, and that's this one right here, Curves, which you can get to you by pressing Ctrl+M or Command+M on the Mac. Ir brings up the revamped Curves dialog box here inside Photoshop CS3. I want many of my dark colors to be mapped to black. So I am going to take this black slider triangle and I am going to drag it over to about 64. So we are taking everything that has a brightness value of 64 or darker and making it black. Then I am going to click to create a point right here, roughly, inside of my line and I am going to drag it up so that the Output level value is about 140 and the Input level value is about 115.

By the way, you can nudge these values from the keyboard. So if you press the Left or Right Arrow key, it will change the Input level value. If you press the Up or Down Arrow key, it will change the Output level value. So this is what we want, 115 Input, 140 Output. That means we are taking every thing that used to be 115 and we are changing it to 140. So we are brightening those mid-tones. We could have done something similar using the gamma value inside the Levels dialog box. The fact that we are doing it inside of the Curves dialog box, this gives us a specific control over where that gamma location is. So we are supposed to put in the gamma location in the middle directly between the black point and the white point. I am able to shift it over toward the black point a little bit.

Now I am going to go ahead and click OK in order to accept that modification. At this point, we need to do a little adjustment using an Overlay Brush. So I am going to go ahead and zoom in. Now bear in mind, these are flesh rounds right there and right there, those are part of Max's neck so we need to retain those areas. So I am going to de-select the image, grab the Brush tool, switch to the Overlay mode by pressing Shift+ Alt+O or Shift+Option+O on the Mac, and I am going to start by painting with white. So I am going to press the X key to make sure that the foreground color is white and then I am going to paint over these areas, just one brush stroke a piece.

Then I am going to press the X key to switch black to my foreground color here and I am going to paint inside the zippers in order to paint some of those highlights away, as much as I can, actually, which isn't all the way gone but it's pretty well gone. Now I will increase the size of my brush and paint this area in order to paint that away. I don't want to paint too aggressively, I don't want to get rid of that little tiny area flesh so I will take it easy. Now this area right here is part of his blanket. So it is something that you want to paint away. Now I am going to go ahead and select these regions using the Lasso tool, like this, in order to just -- I am just dragging around trying to get these areas as well as I can, and I will select those, and then I am going to select up and around here and through here, and just grab this region, and fill it with black by pressing Alt+Backspace or Option+Delete.

A few other areas that we need to address; I will go back to my Brush tool here. I deselect it, by the way, the image by pressing Ctrl+D or Command+D before I start brushing again. I am painting these areas around his ear and cheeks away and that should be pretty darn good, I think. Now I am going to zoom out and it's okay, we have some dark areas around his cheek that I just painted. You can get rid of those, if you care to, by pressing the X key and painting with white, like so. But I don't want to flatten out that cheek too much. So I am going to undo that modification. Maybe switch the Opacity to 50% by pressing the 5 key and painting again. So just a little bit of lightness in here. I actually like these gray contours, it work for us. So we don't want to delete those entirely.

Go ahead and switch to Lasso tool now and just, kind of, Alt+Click around this region, Option+Click on a Mac and of course, in order to draw a big polygon around his head. Then I am going to press Ctrl+Shift+I or Command+Shift+I in order to reverse the selection, that's the same as choosing the Inverse command from the Select menu. My background color is currently black so I will just press the Backspace key or the Delete key to fill in that region, outside of his head, with black. Now I will press Ctrl+D, Command+D on the Mac in order to deselect the image.

We have managed to create the mask. You can see that it's a lot like the mask that you just got done created or at least the one I just got done created, it looks a lot like the one that I have stored inside of the Max mask folder. So you have got a mask, you can either use the one that you created or you can use the one that I created for you. Either way, we will be employing that mask in order to smooth away the aberrant colors inside Max's flesh, in the next exercise.

There are currently no FAQs about Photoshop CS3 Channels & Masks: Advanced Techniques.

Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS3 Channels & Masks: Advanced Techniques.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked