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Enhancing the channel's contrast

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

Video: Enhancing the channel's contrast

Our next task is to enhance the contrast of this channel right here, this My Mask channel, that's a duplicate of the red channels, you may recall it from the previous exercise. We need to enhance the contrast so that her hair and face are totally white against a totally black background with a little softness, a few gray values in between. In other words, we are trying to get to this mask channel right there to that final mask. Alright, so I am going to go ahead and click on My Mask which as I said is the channel that I created by duplicating the red channel.

Enhancing the channel's contrast

Our next task is to enhance the contrast of this channel right here, this My Mask channel, that's a duplicate of the red channels, you may recall it from the previous exercise. We need to enhance the contrast so that her hair and face are totally white against a totally black background with a little softness, a few gray values in between. In other words, we are trying to get to this mask channel right there to that final mask. Alright, so I am going to go ahead and click on My Mask which as I said is the channel that I created by duplicating the red channel.

And I am going to enhance the contrast for starters using the Levels command just because it's the simplest approach to the problem, you could also use the Curves command if you want to. I am going to up to the Image menu, I am going to choose Adjustments and I am going to use the Levels command. And I am going to go ahead and raise the black value and lower the white value. Let's start by lowering this white value, so we are going to drag this white slider bar over to the left, until we get to somewhere in the neighborhood of 120 let's say, which means that I am saying that anything that has a luminance level of 120 or lighter is now going to become white inside of the image.

So that means I am blowing a ton of highlights. If you take yourself back to our levels' discussion several chapters ago, you might say golly, Deke, you are taking all of these colors right here, this world of luminance levels inside the image and you are making them white. Well, that's okay in the context of a mask. You want to turn a lot of colors white. You want to turn everything that's inside of this woman and inside of her hair white against a pitch-black background. Now, speaking of the pitch-black background is pretty weird that the background has a bunch of sort of dim noise in it now because we have elevated the colors, we've made those shadow lighter until we get to this point right here where it's solid black, all of a sudden it just cuts off.

And I imagine that the photographer went ahead and extended the canvas a little bit to include some black over here on the left-hand side, that's perfectly fine, it's something we are going to deal with right now, we just need to make sure that this entire area is a homogenous black. And I am going to do that by raising the black value, I am going to drag the black slider triangle over to the right until this first value right here is 20. So I am saying anything that has a luminance level of 20 or darker is going to turn black inside the image.

And that's what we've done, and we definitely have a higher contrast effect as a result. So, once again, 20 for black, 120 for white, don't worry about the gamma value in the middle here, just leave that alone and then go ahead and click OK in order to accept the modification. So, just so you can see what kind of difference that command made. This is before the before version of this specific channel and this is after. So we are a heck of a lot of closer to our destination right here, which is this, however, we still have some room to go. Now, I do want you to see on other thing.

I am going to zoom in here a little bit. Notice that we are seeing a fair amount of noise inside of the gray area, that's left over here inside of this channel. But we are not getting nearly as much noise as we got from the Color Range command. This is the noise that was produced by Color Range. This is the noise that is produce by working directly from the red channel. So let's go and zoom out here so that we can see the differences right too. This is the Color Range selection and this is the work we've done so far with the red channel.

They are similar in many regards here. That big difference is that the Color Range produces a much rougher selection, a much rougher mask. If we can, we better off working directly from the channel information. Alright, so there we have it. We did a lot of work just using that Levels command and we are going to do a lot more work, we're going to fix these guys right here, we're going to lighten them up so we get a nice bright mask using the Dodge tool beginning when, in the next exercise.

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

129 video lessons · 39076 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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