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Photoshop CS4 One-on-One: Mastery
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Localized color clusters


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Localized color clusters

All right, so in the previous exercise, I showed you how the Color Range command selects both pixels that are adjacent to the click points as well as non-adjacent pixels. Compare that to the Magic Wand tool, which by default selects adjacent pixels only. So as a result, even though my click point and my Shift-click point both fell outside of the skull, I have managed to select inside of this nasal cavity and inside of this eye cavity and a bunch of other holes inside of the skull as well, which is generally a good thing. It certainly turns out to be a great thing where the skull is concerned. Still, you might like a little better control. You might want to reign in your selections so that it is tight to your click and Shift-click points. And if you want to do that, then you can turn-on this Localized Color Clusters checkbox here inside the Color Range dialog box, and I should say it's new to Photoshop CS4. And as soon as you turn-on this checkbox, you get a range value.
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  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Localized color clusters

All right, so in the previous exercise, I showed you how the Color Range command selects both pixels that are adjacent to the click points as well as non-adjacent pixels. Compare that to the Magic Wand tool, which by default selects adjacent pixels only. So as a result, even though my click point and my Shift-click point both fell outside of the skull, I have managed to select inside of this nasal cavity and inside of this eye cavity and a bunch of other holes inside of the skull as well, which is generally a good thing. It certainly turns out to be a great thing where the skull is concerned. Still, you might like a little better control. You might want to reign in your selections so that it is tight to your click and Shift-click points. And if you want to do that, then you can turn-on this Localized Color Clusters checkbox here inside the Color Range dialog box, and I should say it's new to Photoshop CS4. And as soon as you turn-on this checkbox, you get a range value.

Now for some reason, Range remains dimmed which is sometimes does. There's a little bit of a bug going on here. Then what you need to do is just go ahead and click and Shift-click again in order to reestablish your selection. Now notice that the Range value by default is set to 100% and this is 100% of the overall size of the image. So in other words, the selection is going to ultimately taper off toward the outer edges of the image, as the selection outline is declining away from your click and your Shift-click points. You can reduce that selected area if you want to by reducing this Range value.

So if I go ahead and take the value down to something very low like so, you will see that I'm reigning in my selection to something of sort of a fuzzy rectangle right here that's drawn around my click and my Shift-click points. Now we have got some odd behavior associated with this checkbox. I just got to tell you, it doesn't always work the same way every time you use it. For example, if you go ahead and set up your Base colors first and then adjust the Range value, you will get something like what we are seeing here, but if you adjust your Range value first and then you set your base points, watch what happens. I'll click here and then I'll Shift-click down here and notice that I'm restraining my selection to this gradient circle that's being drawn around each of my base points. So interesting, so totally a different result this time around.

So I basically did the same thing I did before, but I went ahead and performed it after modifying the Range value instead of before, and you get different results. So it's just something to bear in mind as you are working inside of this dialog box, if you are taking advantage of this function right here. So if I increase that Range value though, you will see that I'm allowing the selection to drift farther and farther away from those base points. So this can be a very handy way for reigning in your selection to the geographical area around your click and your Shift-click points, and in the case of this image right here, it does tend to be helpful.

So I'm going to go ahead and crank that Range value all the way up to 100%, which typically is the way that I work. This is a new option, of course, so I've only had a few months now to play around with it. So far this is the conclusion I have come to that when in doubt, a Range value of 100% works best. And then I'll go ahead and click and Shift-click in other points throughout the image and even do one of those Shift+drags around an area in order to select many colors at the same time, and I'll go ahead and Shift-click down here as well. Maybe Shift+drag around a little bit in order to make sure that I have selected everything I can.

I don't want to Shift-click on this line. Notice this line that's going through the image right here, some sort of seam in a tent. I actually shot this image at Disney World, and if you Shift-click on it though, you are going to lose a lot of your dinosaur. You are going to start encroaching into the dinosaur as you see right there. So I don't want that. I'll press Ctrl+Z, Command+Z on the Mac to undo that modification. Now you may see at this point tons of the boneage here is turning sort of light gray, meaning that it is going to become selected. If you don't want that, which you don't, you'd go ahead and reduce this Fuzziness value and I'll take it down to something like let's say 60% %. And just a dreamy thing about this Fuzziness value, not only does it have an organic drop off which is super wonderful, but it's also dynamic. So you can adjust it on the fly and get a sense for what kind of selection you would like to create. So fully on the Magic Wand. Where continuous-tone images are concerned, the Color Range command most of the time is going to give you better result.

At this point, I think everything looks really swell. It's not perfect and I'm going to be modifying this mask in the Quick Mask Mode in just a moment but there is one last problem here; the fact that I want to select the dinosaur bones and I want to de-select the background. So I have done exactly the opposite of what I want. Bear in mind that white means selected and black means deselected. You sometimes hear people say that white reveals and black conceals, so that's another way to think about it. Opposite of what I want, turn on the Invert checkbox, you get exactly what you want or nearly exactly, obviously, subject to some future further modifications here. Now one more thing I'm going to tell you is if you have had problems following along with me, no problem, because I have gone ahead and saved off my settings. When you click the Save button, you save your Base colors and you save your Fuzziness and your Range values right there, whether the Invert checkbox is turned on or off, and I have gone ahead and saved this off for you.

So I'll go ahead and click Load in order to load those settings and there they are right there, Localized duckbill.axt, go ahead and click Load to load it on up. You may see your selection shift a little bit, I saw mine shift ever so slightly, because I made different decisions the last time around. That's fine. Then you may decide that you can do better, and you'd sort of click around and see what you can do. Now bear in mind, when the Invert checkbox is turned on, Alt-clicking or Option-clicking on the Mac is going to add to the selection as I did just there. And I was telling you that I don't have very good luck with Alt-clicking or Option-clicking usually, and here it worked beautifully, and then of course Shift-clicking is going to add to the de -selection, and that's because we have got Invert turned-on.

All right, when you are done selecting as much of the dinosaur as you want to select, then go ahead and click OK in order to create that selection outline. Now it's not perfect, it needs modification, and that's why I'm going to show you how to refine the selection in the Quick Mask Mode in the very next exercise.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery.


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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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