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Elevating highlights, leeching saturation

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Elevating highlights, leeching saturation

Now in last exercise we bolstered the shadows. I was telling you we were pounding those shadows in order to create an extreme shadow effect without clipping any shadows away. And in this exercise we are going to create an extreme highlight effect, and we are going to try to avoid as much clipping as we can as well. Even though we are going to verge right on the edge of clipping, as you'll see. If you want to catch up with me I am still working on that image, a wonderful image from Alexander Hafeman and this version of the image is called Shady execs, and he is shady for obvious reasons, because he is wearing shades, and then she's getting shady, because we've deepened the shadows across the entire image. Hence the name just in case you are wondering.

Elevating highlights, leeching saturation

Now in last exercise we bolstered the shadows. I was telling you we were pounding those shadows in order to create an extreme shadow effect without clipping any shadows away. And in this exercise we are going to create an extreme highlight effect, and we are going to try to avoid as much clipping as we can as well. Even though we are going to verge right on the edge of clipping, as you'll see. If you want to catch up with me I am still working on that image, a wonderful image from Alexander Hafeman and this version of the image is called Shady execs, and he is shady for obvious reasons, because he is wearing shades, and then she's getting shady, because we've deepened the shadows across the entire image. Hence the name just in case you are wondering.

So the next step is to add yet another extreme channel mixing effect. I am going to press-and-hold the Alt key or the Option key on the Mac, click the black-and-white icon down here, and choose, once again the Channel Mixer command, because I had the Alt or Option key down, the new layer dialog box comes up, and invites me to name this layer. I am just going to go ahead and call it highlights or something along those lines. Something terribly mis-spelled, and I'll click okay. And this time around we're going to once again work on the Monochrome version of the image. And turn on Monochrome, so that we are getting a black-and-white effect. And the values that I want you to apply are 50 for red, 90 for green and -90 for blue. Now these values you may notice do not add up to 100%, they only add up 50%. And the reason is, because we are going to use these to increase the highlights, but we don't want to go too far, so I am keeping these values pretty dim here to start with.

And then I'll go ahead and click OK in order to accept that modification. So it's kind of a half-hearted infrared effect essentially. Now I'll go ahead and click OK in order to accept that modification. This time we want to apply a Luminance Mask to this layer, so that we are just effecting the lightest colors inside of the image. So Alt+Click on the eyeball in front of the background layer that would be an Option+Click on a Mac. Switch over to the Channels palette. Check out that blue channel, once again, it actually is very nice at isolating the shadows, not so good in isolating the highlights. In other words, we don't have a lot of highlights going on inside of the flesh tones in general, both her flesh tones and his. And that's a good thing, because I really want to not affect that many highlights. If I were to use the red channel, the Density Mask would include a lot of highlights. I just want a few highlights so that we are really limiting the amount of exposure of this layer that we are working on here.

So let's go ahead and load the blue channel once again, by Ctrl+Clicking or Cmd+Clicking on that channel. Then I am going to switch back to the RGB image. I am going to switch over to the Layers palette, I am going to Alt+Click, or Option+Click on the eyeball in order to show all of the layers once again. Make sure that your Highlights layer or whatever you call those, if you called it something more reasonable, is selected. And then I am going to go down here to the layer mask icon, and I am going to click on it. You don't have to Alt+Click this time, just click on it in order to create a Luminance Mask, so you can see; it's a positive version of the blue channel.

Once again this looks pretty silly, so we need a blend mode, and the blend mode that I am going to suggest you apply this time is Color Dodge. You could just go ahead and try Screen for starters, and that is pretty high impact effect, but I just want to go a little bit farther. So I am going to go ahead and press Shift++ in order to advance to Color Dodge, you could go as far as Linear Dodge, but I think that's too far, so let's go ahead and back it off to Color Dodge. I think that looks actually really, really great. So this is without that layer, this is with that layer.

And you can see that we are starting to clip a little bit, let's go ahead and update that histogram. We are starting to clip a little bit in some places. But most of the clipping is happening exclusively inside the red channel, the other two channels are green and blue channels, and I know this because I have inspected this image. The other two channels have some decent information going on that's offsetting that clipping in red channel. So this should print actually pretty darn good, it's a little hot for print, but it should work out pretty nicely. The next thing that I am going to do is convert this image to black-and-white.

Now we've already done all the work where balancing the shadows and highlights is concerned, so I don't want to apply yet another channel mixing effect at this point. I just want to get rid of the color saturation and nothing more. And when you want to do that, the best way just to rob an image of saturation is to Alt+Click or Option+Click once again on the black-and-white icon, this time we are going to choose Hue/Saturation. I am going to call this layer desat, and then I am going to click OK, and then I am going to reduce the Saturation value to -100, and that's it.

Now this is a different effect, this is yet another way to achieve a black-and-white image inside of Photoshop, it's just a rob it saturation, this is different than converting an image to grayscale. It's different than keeping a single channel, it's different than going to the lab mode, and keeping the lightness channel. This is a very specialized way of robbing an image of saturation. But it works, in our case, it's exactly what we want, because we are not mixing channels. I don't want to do any channel mixing, I just want to lose the color, and that's what I have done. All right, so I'll go ahead and click OK, and you can see that we've got a really great, a real high impact black-and-white photo, and we are left with some pretty good highlights. If I bring back up the Histogram palette, now I am going to update that histogram, and you can see that we don't have as much clipping showing up inside of the histogram as we saw before.

So that's a good thing and that is indicative of the fact that we do have some nice volumetric detail going on inside of the highlights, as well as this nice sizzling contrast, which I think really works for the photograph's advantage. In the next exercise we're going to deepen this guy in order to create a moodier effect for our young execs.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26327 viewers

Deke McClelland
Author

 
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  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

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