Photoshop CS3 Channels & Masks: Advanced Techniques
Illustration by John Hersey

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Fixing problem coronas (pupil edges)

In this final exercise of the chapter, we are going to complete the correction of the red eyes inside of this photograph by fixing Max's eyes right here which are the peskier, more troublesome eyes because they have those wicked dark coronas around the pupils. I am still working inside the image called In A Perfect World.psd that I opened in the previous exercise, and I apply the Dummy Layer, you may recalled in order to correct Sam's pupil, so here are his pupils without that Dummy Layer, here are his pupils with the Dummy Layer. I will go ahead and zoom in so you can see that better. This is without and this is with.
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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

Fixing problem coronas (pupil edges)

In this final exercise of the chapter, we are going to complete the correction of the red eyes inside of this photograph by fixing Max's eyes right here which are the peskier, more troublesome eyes because they have those wicked dark coronas around the pupils. I am still working inside the image called In A Perfect World.psd that I opened in the previous exercise, and I apply the Dummy Layer, you may recalled in order to correct Sam's pupil, so here are his pupils without that Dummy Layer, here are his pupils with the Dummy Layer. I will go ahead and zoom in so you can see that better. This is without and this is with.

So a slight correction but a meaningful correction goes ahead and deepens those pupil so that they better match the environment so that they look more naturalistic. And we are keeping the highlights, so we are not over-correcting, don't you know the pupils are a little lighter than you might expect but they look great. I think, somebody coming to this corrected image would think this is the way it was originally photographed, which is of course the whole idea. All right, let's move over to Max's pupils and you can see they've got those coronas, I will go ahead and zoom in, by which I mean those thick black outlines right there and the pupils look very different from each other; one is nice and round, the other is sort of strangely shaped, which is either a function of the way that the pixels were captured by the camera or possibly Max's iris was actually in flux, during the photograph that might have happened as well.

But anyway we are going to take care of all these problems, we are going to make the eyes look nice and dark, we are going to make those pupils look black, we are going to keep the highlights, we are going to get rid of the coronas, and we are going to make both of the eyes symmetrical so that they look a little more normal. All right, and here is how we are going to do. We are going to start things off by generating our own selection outlines. People, go ahead and grab the Elliptical Marquee tool from the Marquee tool Fly-out menu, zoom in a little more on this left eye, Max's right eye, of course, and I want you to select like so. So the idea is that we are selecting the entire pupil including the corona, with a hard edge selection or at least it is anti-alias but it's not soft.

We are not going to blur it or feather it or anything like that, so you want to make sure to select about as much as you are seeing me select here on screen. If you select too little or too much, the effect isn't going to look right, so you want to make sure that you get that corona as well as the pupil. Now I want you to go down to the bottom of the Layers palette. Press the Alt key or the Option key on a Mac and click black white icon and choose the Brightness/Contrast command once again because it too will serve as a Dummy Layer for fixing the pupils here. We will call this layer Max, click OK, don't make any modifications inside the Brightness /Contrast dialog box, just click OK again.

And I want you to change this blend mode here from Normal to Multiply, so that we are burning in the effect. We are using the image to multiply itself essentially, to darken itself, and we get a better looking pupil, I think it actually looks quite a bit better so I completely fixed but it's fixed enough it will look good. The corona however looks terrible. We have made the effect even worse, we have made that edge even darker, we are going to take care of that dark edge by adding a couple of layer effects, by adding an outer glow and an inner glow effect. So I want you to click on the Effects icon and we will start by choosing Inner Glow. So go ahead and choose that command, and that does fix the corona to a certain extent but it does makes it nice and bright and light now, like he has got some sort of sun inside of his eyes.

So let's change that color, also let's change the blend mode, I am going to change the mode from Screen to Normal and then I am going to click on the Color. Now ideally, we could just go ahead and lift the color from the iris, but if I try to click with the eyedropper there I am going to get black. Notice that if I click in his flesh, I get black as well. What's that about it? If I click in the white of his eyes, I get black. The only time I don't get black is if I click inside the dark pupil, in which case, I get white, what kind of wacky upside down world is? Well, we are lifting colors from the layer masks. That's all that Photoshop can see when you are working on an adjustment layer like this, so we can't see the actual composite image, which is a big pain in the neck.

Luckily, I went ahead and researched the color of the irises in advance, and this is what they are, in the case of this image. Now I don't mean to make it sound like this is some kind of magical fix, every value that I enter for every single image you encounter, rather the fact that we are using Outer Glows and Inner Glows to correct the corona, that's the proper approach. So this Dummy Layer combined with Multiply, combined with Outer Glow and Inner Glow to defeat the corona, that's your approach, you can use that in another images as well. The specific values you work with though, you are going to have find those out on your own, you are going to have to experiment.

So I am going to change the Hue value to 110, the Saturation value to 10 so very low, and the Brightness value to 23 which might seem like wow! Is that a specific brightness value? Yes it is, and it happens to work out very nicely for this particular image. All right, I will go ahead and click OK. I am going to take the Opacity value up to 100%. I am going to take the Noise value up to 10%, so that we have a little bit of noise action right there. And I am going to take the Size value up to 6 pixels like so. Now that softens the inner edge of the eye pretty nicely, we need to take care of the outer edge, and I am going to assign an Outer Glow like so, change the blend mode to Normal, we want the same color. So I am going to once again enter 110, 10, and 23, and I will click OK. And an Opacity of 80% works a little better for this outer edge, and then, I am going to take the Size value down to 3.

Now it might be attempting to take it up but if you take it up, you are going to encroach on the eyelashes, and you don't want to do that, so take it down to about 3 and I am going to change the technique from Softer to Precise. So that we are precisely tracing the outline of that pupil. Now if you find that you still have an edge after these values here, so here's the values oops! I want you to take the Noise value up as well. So we want 80, 10, 0, 3, Precise, you got the color, that's a 110, 10, 23. And this is our Inner Glow settings right here. Make sure blend modes are always set to Normal for both of these. We've the Opacity value of 100%, Noise of 10, 0 for Choke, Size 6, Softer is fine here, click OK.

If you are still seeing a weird edge right there is because you didn't draw your selection outline big enough from the first place and it needs to be a little bit bigger is probably might yes. Or might have to be smaller, but you are going to have to fool around with that, so it is important to get that right. Let's go ahead and zoom out a little bit. I have gone ahead and fixed this pupil. It may not look like it's completely 100% fixed, but as soon as we zoom out, you will see it looks great. Now I want you to go ahead and grab this area like this, go ahead and make a big selection around this pupil because we are going to duplicate this pupil selection that you may add, we are going to duplicate it over onto the other pupil, and I am going to do that by Ctrl+Alt dragging or Command+Option dragging the pupil. Notice we get a pupil, we can put it right there in the middle of his head if we want to, if we want a third eye to protect my son.

But I want to move it over here into his other eye like so, and it becomes a bigger pupil, notice that it's more dilated then it was before, but it better matches the other pupil and I think it looks more natural as well. And you may need to sort of dance it around a little bit. I am nudging it by pressing the arrow keys in order to get it into the right place because you want it to look like he is looking at the camera, not sort of, you know, looking off in this space over here. You want those eyes to be following you, across the room like he is Monalisa or something.

So just nudge them and it might help to zoom out a little in order to get the nudge right. But that looks good to me, I might nudge it over just a little bit. Actually, now that looks perfect. Okay and that's it. Isn't that great, doesn't it look good from this distance? It's going to look great in print as well, believe me, even though when you are inspected, you can see that you have been there but when you get far away, it looks like this is exactly the way the image was photographed. So here is the original, I will go ahead and turn-off all those adjustment layers with those wicked red eyes and here's our correction. Thanks to taking the proper manual approach to red eye inside Photoshop.

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