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Photoshop CS3 One-on-One: Beyond the Basics

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

Video: Masking and shading the image

In this exercise, we are going to go ahead and mask this teased blonde image from photographer Andrzej Burak. We will mask her so that we get rid of these weird edges here and we'll also shade her so that she looks every bit as natural inside of her new home as this Lise Gagne image of this fellow with the umbrella here. Alright, I am going to zoom out from the image and I am going to show you something that I have created for you inside the Channels palette. It's called Mask. It's an alpha channel that's called Mask.

Masking and shading the image

In this exercise, we are going to go ahead and mask this teased blonde image from photographer Andrzej Burak. We will mask her so that we get rid of these weird edges here and we'll also shade her so that she looks every bit as natural inside of her new home as this Lise Gagne image of this fellow with the umbrella here. Alright, I am going to zoom out from the image and I am going to show you something that I have created for you inside the Channels palette. It's called Mask. It's an alpha channel that's called Mask.

And what I have done here is I have gone ahead and selected all of the blue canvases and set them to white and I have set all the backgrounds to black so that we can easily select the contents of each and every canvas inside the image. But you may wonder how in the world I did that. Well, it turns out to be very easy if you know the equation. And I am going to show it to you right now. Let's go ahead and click on the RGB composite image once again to switch back to the full color version of this composition. And I am now going to go to the Layers palette and I am going to Alt-click or Option-click on the eyeball in front of the background layer in order to see the Background layer and only the Background layer.

I am also going to click on that layer to make it active. Alright, so here is thing. You may recall that the guy who provided us this image Malcolm Romaine, he went ahead and thoughtfully colored every single one of the canvases blue, so they serve as a blue screen as it turns out. And if you are familiar with blue screen photography, you know that it makes it very easy to extract the foreground and place it against a different background. Well, the theory is the same here except in this case, we are going to extract the foreground images which are the canvases. And we are going to do that using a command under the Image menu that's called Calculations.

Go ahead and choose that command, and you are going to bring up, it sort of offers a bewildering array of options, if you have never seen this dialog box before. It turns out that I go into all kinds of detail on the Calculations command in my full masking series, Photoshop Channels and Masks, which is available to anyone who is a member of the Lynda.com Online Training Library. But for now, I am just going to tell you the settings that you need to apply in order to mask out the canvases inside this specific image. First of all, make sure that Source 1 and Source 2 are both set to bluegallery.psd, the image that we are working on here.

Then make sure that both of the layer options are set to Background, they shouldn't be set to Merge, we shouldn't have one set to Merge and one set to Background as at least it's the default setting for me, so both set to Background. Then set the first channel to blue, you always need to set one of these channels to blue when doing blue screen, and then set the second channel to green and then set it to invert, so that we are subtracting the green channel from the blue channel essentially. And then finally, change the Blend mode here from multiply, which is the default setting to Linear Burn.

Opacity should remain set to 100%, that's it. Click OK. Now of course, that's enough contrast, we need to bring those canvases out a little more. So I am going to press Ctrl+L or Command+L on the Mac to bring up the Levels dialog box and I am going to move this black slider triangle to the right of that big heap of colors in histogram here, that big heap of shadow values. And the value of 50 works up pretty nicely here, an input level value of 50 for the blackish colors, for the black value.

And then, I am going to move the white slider triangle over to the left, well to the left in fact, of this white spike right there, this light spike inside of the histogram, so that the third input levels value is 140. Then go ahead and click OK in order to accept that modification, and we end up making the canvases white and the backgrounds black. Now, let's put this alpha channel to work and notice if you go to the Channels palette, you will see this new alpha channel that was created automatically by the Calculations command.

Once you go ahead and rename that if you want to, you can call it something like My Mask just to distinguish it from the one that I created for you, even though the two should be roughly identical if you click back and forth between them. Alright, let's restore the RGB composite view of the image, and I want you to load My Mask by Ctrl or Command-clicking on the mask thumbnail here, on the alpha channel thumbnail. Then, go over to the Layers palette and Alt-click or Option-click on that eyeball once again to bring back all of the layers to make them all visible, all except the Plains layer that is because we want that one to stay turned off.

Now, click on the Blonde layer. Notice that we have selected all of the canvases. I really just want to work with the selected area around this specific canvas. So I am going to grab my Marquee tool, which for me is already active, and then I am going to Shift+Alt+Drag around this area Shift+Option+Drag on the Mac in order to just keep the intersection of that selection along with the existing one. Alright, and we are ready to mask her out by clicking on the layer mask icon at the bottom of the Layers palette and we get this effect right there.

Is that not great? It's pretty easy to pull off anyway. We do have a little bit in the way of blue edges going on here. So I am going to show you quick and dirty way to go ahead and expand a mask, so it's a little larger so we don't see these little blue edges. Make sure the layer mask is active here inside the Layers palette. You can click on the thumbnail if you want to. Then go up to the Filter menu, choose Other and choose Maximum, and that allows you to expand the white area, the maximum brightness value, of this specific mask and set the radius value to its absolute minimum which is 1 pixel that goes ahead and expands the mask as much as it needs to be expanded to completely cover up that blue edge there.

Then click OK in order to accept that modification. So we've spread the mask out ever so slightly, just 1 pixel all the way out around the image. Now, finally, what we need to do is add the shading. And I have already gone ahead and shaded this fellow, so we can repurpose his shading. Go grab the Shading layer here inside the Layers palette, and I want you duplicate it by Alt-dragging it or Option-dragging it up the list. So just go ahead and Alt or Option-drag the Shading layer to create a copy of it at the top of the Layer palette.

Notice what a shoddy sort of shading effect this is. I will go ahead and Ctrl-drag this Shading layer over so it's on top of the Blonde layer here. And notice that it was just a matter of selecting these areas, selecting these sort of polygon areas, the straight set of selections here, and painting inside of them using a translucent brush, that's all I did. And I will go ahead and move this Shading layer into place so that we are shading the edge of the canvas right here, we want a little bit of this edge shaded and then of course, the rest of the image is shaded as well, pretty nicely.

And then finally, in order to keep the shading inside of the canvas, I want you to go up to the Layer menu and I want you to choose Create Clipping Mask. And then we clip the shading inside the canvas and we are done, that's all there is to it. Go ahead and zoom out in order to take in that new occupant of the gallery. She looks right at home. In the next exercise, we are going to add yet another painting over here on the far left wall and it's going to be a painting that's already in perspective. Stay tuned.

Show transcript

This video is part of

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

129 video lessons · 39214 viewers

Deke McClelland

Expand all | Collapse all
  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...
    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
    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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