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Gathering details with Apply Image

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Gathering details with Apply Image

Now we are ready to go ahead and reestablish some of the hair details at the top of this image. I am working inside of a document called Enhanced contrast.tif found inside the 14 Calculations folder and I am going to press Ctrl+9 or Cmd+9 on the Mac to switch to my ninth channel, which is called Curves modification and this time around we don't really need to duplicate the Channel because the modifications that we are making are not all that significant, they are not going to really harm anything we have going, they are going to add to it.

Gathering details with Apply Image

Now we are ready to go ahead and reestablish some of the hair details at the top of this image. I am working inside of a document called Enhanced contrast.tif found inside the 14 Calculations folder and I am going to press Ctrl+9 or Cmd+9 on the Mac to switch to my ninth channel, which is called Curves modification and this time around we don't really need to duplicate the Channel because the modifications that we are making are not all that significant, they are not going to really harm anything we have going, they are going to add to it.

All right, so what I want to do is, I want to use the Apply Image command; I am going to zoom in up here to this absence of information. I want to use the Apply Image command to bring information from other channels into this channel. Now it's telling you, calculation allows you to take two channels, merge them together in order to create a new alpha channel. So merge two channels to create a third channel. Whereas the Apply Image command also here under the Image menu, right there, allows you to merge a channel into another channel. So you are not making a new channel, you are taking some channel and putting it into another channel subject to a blend mode.

Now I am a fan and not a fan of the Apply Image command. Basically we are merging full color images as concerned, I think it borders unused list. Because there are a lot of different ways to bring images together using layers which are much more flexible. But if you are trying to bring information from one channel into another channel, it can be quite useful sometimes under very specific circumstances, and this is one of them. All right, so here's what we are going to do. We are going to check out our original information, because we can see there is nothing left up here inside the masking progress. So I am going to go to the Red Channel, also bereft of information up here. Now let's check out the Green Channel, better, we're starting to get some information down in this area and hint of information up here, and then we've got the Blue Channel which is kind of a train rack up here actually, but it does have some variation, it does have some stuff that at least might give us some hints as to what's going on.

So basically we are going to gather information from both the Green and Blue channels and bring it into the mask. So let's go to the Green Channel for starters just so that we can get a sense of how to define the area that we want to modify. Apply Image will go ahead and put the results into a selected region. So I am going to grab my Lasso tool right here, and I am going to make sure Anti-alias is turned off. So turn that check box off so that we don't get any weird edges around our selection outline so that we have a jagged selection outline which is, of course, ironically is going to give us smoother, more accurate results per our discussion long, long ago inside of our previous chapter when we were discussing everyday channel masking.

All right, and I am going to go ahead and switch to the Full Screen mode so that I can move my image down a little bit, and I am going to Alt+Click around this region right here. This would be Option+Clicking around this region on the Mac, and I am going to come down all the way down across this hair right there, that bellwether hair I was telling you about. Actually, I think I want things to be a little thicker, like so. Let's see if this works, that worked pretty nicely. All right, so something like this is a selection outline, I might even widen it a little more, like so, just to make sure that I have selected more than I reasonably need of this area.

Then I am going to go down here to the Curves modification channel, and so whenever you are using Apply Image you want to be working on the channel that you want to change, which is a rocket science. I mean, that's the way we work normally if you of course select the channel that you want to modify, and we've got a selection going. Then go up to the Image menu and choose the Apply Image command. And it's going to suggest that we go ahead and by default merge the Curves modification channel, that is, the channel itself with itself using the Multiply blend mode. Which isn't going to get us anywhere. It increases the contrast kind of in this area where we already had contrast, we don't need that. What we need is the new information. So we will change the Channel to Green. This is our Source channel by the way, hence the word Source up here. So in other words this is the channel that we are drawing information from.

Our destination channel is already determined. It is the selected channel down here. So I went ahead and selected the Green Channel, and this time I am going to change the Blend mode to Subtract, and Photoshop goes ahead and gives me the last subtract values applied, which happened to be a Scale value of 1.4 and then Offset value of 90. Let's go ahead and take the Offset value down a couple of clicks by pressing Shift+Down Arrow twice in a row, because I want to darken up the image a little bit. It's gotten over-highlighted by the Offset value, by that high Offset value. So we really want about Scale 1.4, Offset 70. You can experiment with those values of course, but if you want to get the same results I am getting, these are your guys right here.

All right, that's good, click OK in order to accept that modification. Now press Ctrl+D or Command+D on the Mac to de-select the image. Now we do have some nice sharp transitions around the edges that's just fine, but I would like to have a soft transition in this area, where we had good hairs. And so I am going to use the History Brush to brush that stuff back. So go ahead and grab the History Brush from the toolbox, it's one under the Stamp tool, above the Eraser tool. And then let's go over to the History palette and I want you to select -- as a source, I want you to select this state before you start lassoing, before you Lasso states. So in my case that's open, because I opened this document. For you it might be, if you have been along with me, you might have lots and lots of steps going inside the History palette. So go ahead and click in front of the state that occurs before the Lasso states.

Now I am going to hide my History palette and I am ready to brush, going to increase the size of my cursor a little bit and do one of these here, like so, and then I am going to press the 5 key to reduce my Opacity value to 50%, and I am going to paint in this area as well to further soften the transitions there. All right, so this looks pretty good. Now we are only getting a hint of hair up here. I am not painting by the way, I am just gesturing. We are only getting a hint of the hair that we need to use. So we need to bring in some more stuff from the Blue Channel, so I am going to go ahead and grab my Lasso tool again and I am going to Alt+Click around this region, like so in order to grab some information from Blue. And then let's go up to Image menu and choose Apply Image once again.

Now this time we are not going to get fancy, we are just going to say, we want to bring an information from the Blue Channel and by golly we just want it to be set to Normal. And the reason I am doing Normal is because this is the area that we are trying to bring information from, and there is really nothing to blend with. We are not doing ourselves any good by establishing some fancy blend formula. So Normal is good enough for our purposes. Now we don't want to really take it to slow but we'll History Brush this stuff away. We do want to bring in some of this garbage right here, and actually you know, I don't really think I selected enough. But that's okay, I will go ahead and click OK in order to accept this modification. So Blue, Normal, 100%, click Okay. I am going to go ahead and drag around this area with the Lasso tool as well because this is little fragile hair that's right there, that I want to bring back. And I will go up to the Image menu, and you know what actually, let's go ahead and do that too. Let's go ahead and back-step until I had this selection and I will add to this selection, like so. This is a better way to work because we are going to need this selection outline in just a second. So I have selected this entire area.

Now go up to the Image menu and I will choose Apply Image. I will go ahead and leave the Overlay mode set as is. So Channel should be Blue, blend mode should be Normal, Opacity 100%. So this is all grayed and you can see that I went ahead and extended the thing. And the reason I wanted to extend this area is because it's got this little hair, see that right there. That's kind of like the only good detail, we are really gathering here is this little hair, and then we can see that there are some other hairs right there that we'll have to follow, then click Okay. And then I am going to press Ctrl+L or Command+L on the Mac in order to bring up the Levels dialog box, and I am going to bring this white point over like so, so that we can see the hair better, and then I will click OK.

Now I am going to press Ctrl+D or Command+D on the Mac to de-select that region. I am going to go ahead and select my History Brush again, and if I start painting, I am going to paint away everything I did before, and actually just hit the 50% Opacity mode anyway. So I will go ahead and Undo that. Let's switch over to the History palette again and I want you to click on the History Brush state, click in front of the History Brush state before your first Lasso. If you went ahead and lassoed multiple areas like me, so right there because that was the last good state we had. And then go ahead and make that History Brush palette go away again.

Press the 0 key for 100% Opacity. I am going to reduce the size of my brush and I am going to paint like this folks, in order to paint all this stuff down here away, but I am going to leave that hair intact. And I am not painting again, I am just gesturing that hair is going to remain intact like so. Now it looks terrible, right. This doesn't look like anything we want. But it really is, is it some guidelines. It shows me where the hairs ought to be. Even though I really can't make them reappear the way. I want them to reappear. I am going to have to do some fudging. So I am going to have to paint some details in, and this just gives me basically sort of a little bit of a coloring book.

So I know where I need to paint the hairs later. All right, so that's good, so far so good believe it or not. In the next exercise, I am going to show you how to basically increase the contrast of these hairs of our good hair detail running down the side of his head here, and we are going to do that using the Dodge and Burn tools.

Show transcript

This video is part of

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

190 video lessons · 26328 viewers

Deke McClelland
Author

 
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

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