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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
Now at this point we are losing too much shadow detail. You will notice, if you check out the final version of the image that the shadows are brighter and that's what we want. So what we need to do is create a Filter Mask and we have a Filter Mask available to us here inside the Layers panel, but it happens to be empty, thereby indicating that were not masking the filters at all. Now we are going to create what might be the easiest kind of mask to make inside of Photoshop, which is a Luminance Mask. That is to say we are drawing out the natural luminance levels inside the image.
That will allow us to mask away the dark stuff and keep the bright stuff where the filters are concerned. So I am going to start things off by turning off the eyeball in front of Smart Filters. That will temporarily hide the filters. Then you want to go up to the Channels panel to check out the channels that are associated with the original image. We will start with the Red channel; which of course, because this is a portrait chart, is going to be the brightest, because we all resonate most brightly inside the Red channel. The Green channel is going to give us the best detail information; it's the closest to the composite grayscale version of the image.
And then finally, we have got the Blue channel in which the skin tones are going to appear relatively dark. And basically really everything inside the image darkens up quite a bit, except for the shirt which appears brighter. We want that shirt to appear as dark as possible and the flesh tones to appear as bright as possible. So we want to lift the Red channel. So all you have to do in order to turn that into a filter mask is press the Ctrl key or the Cmd key on the Mac and click on that Red channel in order to load it up as a selection. So that is to say the highlights become the most selected and the shadows become the most deselected.
Then switch back to the RGB image. Go back to Layers panel and turn the Smart Filters set back on. Now at this point we can work with the existing layer mask if we had to, but that would mean reversing the selection by choosing the inverse command. The easier way to work is just to right-click inside of this Filter Mask and choose Delete Filter Mask to get rid of it, or if you loaded dekeKeys by the way, you can press the keyboard shortcut Ctrl+Alt+Q or Cmd+Option+Q on the Mac. The idea being we are quitting that filter mask, and now we will create a new one by right-clicking on the word Smart Filters and choosing Add Filter Mask and that will convert the selection outline into a mask like so.
And notice, thanks to the mask, we are now revealing the original shadow detail inside the image. And so if I were to Shift+Click on this Filter Mask Thumbnail, I temporarily turn it off like so, and you can see that the image darkens up considerably, especially inside the shadow detail. And if I Shift+Click in the Mask Thumbnail again, to turn it on, then we can see the new brighter shadows. Now to my eye it looks like we have taken a little bit too much of the oomph out of the shadows, and so to compensate, we need to reduce the density of this filter mask, and I will show you how that works in the next movie.
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