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Dodging the highlights

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Dodging the highlights

Here I am working inside the face in the dark.tif image and I have made a few alterations. I duplicated the red channel, I renamed it My Mask and I went ahead and enhanced the contrast of this channel using the Levels command, but we still have some more contrast enhancement to go because after all this is our destination, this mask channel is what we are trying create here. So I have got to take these grays, this entire region of grays right here and somehow make them white, something that I couldn't do inside Levels command.

Dodging the highlights

Here I am working inside the face in the dark.tif image and I have made a few alterations. I duplicated the red channel, I renamed it My Mask and I went ahead and enhanced the contrast of this channel using the Levels command, but we still have some more contrast enhancement to go because after all this is our destination, this mask channel is what we are trying create here. So I have got to take these grays, this entire region of grays right here and somehow make them white, something that I couldn't do inside Levels command.

If I try to accomplish this in Levels then I would have ended up obliterating the good transitions that I have inside of this image, particularly this region up here where we have these very fine strands of hair going on. It's just not worth rushing things don't you know, might as well enhance the contrast one little baby step at a time in order to achieve a desirable beautiful wonderfully accurate mask. So I am going to go in and selectively brighten this dark gray hair using the Dodge tool, you may recall the Dodge tool from the previous chapter, we are going to be using it again.

Go ahead and click on the Dodge tool to select it. And I am going to increase the size of my cursor a little bit so it's about a 150 pixels here. Now recall that you have a few range options available to you. The default setting is midtones is a great settling when you are working inside of a continuous tone photograph, but when you are working inside of a mask, it's not such a good setting. Check this out, if I start brushing in the hairs using the midtone setting, I make those hairs thick and gloppy and they start encroaching on the background, notice that.

So they are getting way too thick, way too gooey and the background is going away and we are ending up creating some harsh icky transitions. So let's go ahead and back step to get rid of that dodging. We certainly don't want to switch over to shadows. If I were to dodge the shadows then I would lighten the background exclusively without affecting the hair barely at all, alright, so I will undo that modification as well. The setting you want to choose is Highlight, so go ahead and choose Highlight. By dodging the highlights, we protect the shadows, which is the background and we focus our attention on the hair, alright.

So I am going to paint inside this area of the hair once in order to start brightening it up and then I am going to reduce my exposure value, notice that it starts out at 50, I am going to reduce it to 20% by pressing the 2 key and now I am going to paint over this region some more. Now it's going to take several passes in order to get things looking the way you want them to. So be patient, this is my third brush stroke, this is my fourth one. Make sure to be patient, lot of things happen, don't rush it, because if you start rushing it, then you are going to lighten up the background and that's certainly not something that you want to do.

Alright, I will paint in these hairs a little bit as well and that's pretty much the transitions that we are looking for at this point. You don't have to paint in these hairs, these little tiny hairs at the top, because they are already sharply focused, they already have a great degree of contrast, so leave them alone. We are just worried about getting these soft hair set up. Now you may also find it necessary to bolster the shadow detail to darken the background a little bit and if you want to do that then you would switch to the Burn tool and you would change the Burn tool range to Shadows like so.

Now go ahead and press the Esc key in order to deactivate the Shadows option, not necessary once again on the Mac. I will press the right bracket key a few times to make my brush larger and then I would pain in the shadows like so. But in our case, that's not such a good idea, notice what happened, I just paint away a bunch of hairs and those hairs are already delicate enough and more to the point, our background is already dark enough, so I will undo that modification just by pressing Ctrl+z. The next step is to get rid of all this other garbage over here and I don't mean to imply that her face is garbage, it's just that from a masking perceptive, we don't need it.

We have a nice gully here, nice alleyway between the good hair edges and this stuff that we need to get rid of. So let's go grab the Lasso tool, make sure that you are scrolled over so that you can see the far right side of the image. Grab the lasso and just generally select through this region, see that. And drag all the way up, and all the way over and down, around to encompass the entire top and right and bottom portions of this right half of the image.

Now that I have selected all the stuff that I wanted to delete, how do I delete it? Well normally, you could just press the Backspace or Delete key because normally the background color is white, but when you are working inside of an alpha channel, default background color is black and the default foreground color is white because Photoshop is making the assumption that you want to paint with white when you are painting in the image, when you are painting in the foreground and you want to paint with black when you are painting it away, so it makes a lot of sense actually, but you have to take different approach to deleting the selection.

Press Alt + backspace or Option, Delete in order to fill that selection with white. That's it folks, I am now going to press Ctrl+D, Command D on the Mac to get rid of that selection, check out this mask, it is awesome, you can zoom in on those hairs and you will see that you have some very natural soft transitions, a little bit noisy but it's matching the noise that's inherent inside the image, so that's actually a great thing. I am going to zoom out a little bit here and scroll to the top, check out those individual strands of hair, could that not be more awesome or what.

And if you are amazed by that, stay tuned because in the next exercise I am going to show you how to take off this wonderful mask that you have created and put it in play.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39077 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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