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Matching colors

Matching colors provides you with in-depth training on Design. Taught by Deke McClelland as part of … Show More

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Matching colors

Matching colors provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop CS3 Channels & Masks: Advanced Techniques
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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

please wait ...
Matching colors
Video Duration: 9m 12s 20h 48m Advanced


Matching colors provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop CS3 Channels & Masks: Advanced Techniques

View Course Description

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

Matching colors

In this exercise we're going to take this very cool foreground image, and when I say cool I mean it has a cool color scheme going on with lot of Blues and cool Greens and Violets and so on. We're going to attempt to make it match this very warm background so that she appears to be right at home inside of her new environment. We're going to be trying to pull this off using the Match Color command, the Hue/Saturation command and Levels, all working together. So I am working inside of an image called Cool meets Warm.psd. That's found inside of the 10_advanced_blend folder. If you want to catch on up with me, you can open this document as well. Make sure that the top layer is selected, and for what it's worth, the name of this layer is young lady, as you can see here.

Make sure that she is selected and that the full color version of the image, not the mask, is active. So I just go ahead and click on that thumbnail, if you will, just to make sure. Now I am going to Shift+Tab away my palette so I have a little more room to work. I am also going to switch to the Full Screen mode. So that I can move her off to the side while I bring up my whopping big dialog boxes here. The first command that we're going to apply is this one right there, Image > Adjustments > Match Color, a very powerful command that is totally organized in the most bizarre fashion possible. But it's a very good command actually; at least what it does is good. I do have some issues with it though, as you'll see, ever so shortly. So go ahead and choose Match Color.

Basically the big issue I have with this command or is two, really. One is, that the whole darn things organize upside down. The most important options are down here at the bottom and then you've got to work your way up. Secondly, everything is turned off, by default. The default settings are do nothing, do nothing, do nothing as we'll see. The very first thing you have to do is change the Source. By default, it set to None. You can't do anything inside this dialog box with Source set to None. So go ahead and switch it from None to the name of the active image, the one that you are working in, which might be Background blur if you've been working right along with me. Or if you just opened this image, its Cool meets warm.psd. So I am going to go ahead and choose that one. Even still, Photoshop doesn't do anything.

It decides in its infinite wisdom here, that it should take the young lady layer, that we're working on right now, and match it to the young lady layer, which is matching the image to itself, which isn't going to do us any good. Obviously, that's not going to result in any kind of change. So we need to change Layer Option from young lady to Background. As soon as we choose this option, bingo; We start to get results. You can see that the Match Color command is a heck of a job of matching the colors in the foreground image to the colors in the background image at this point, almost too good of a job, I would say. That's where this Fade value, right here, comes into play. By default, Fade is set to zero, meaning that we are seeing the Match Color command at full volume, essentially.

If we want to turn it down so that we don't have any color matching going on, we would set Fade down to a 100%. Anything in between, sort of mixes the original version of the image with the Match Color version. I am going to go ahead and air on the side of the original colors a little bit by changing the Fade value to 60%, as we are seeing here. And yet we are still getting a heck of a lot of color matching going on. So she looks quite transformed. Go ahead and click OK in order to accept these values. We don't need to worry about Luminance, Color Intensity or any of the others. This is just fine. So go ahead and click OK. That's step number one.

Step number two is, we need to address the coolness of the lighting that's applied to our eyes right there and to her dress as well. I think her dress just looks too magenta for this new background. So I am going to deselect the image, and this time I am going to use the Hue/Saturation command, which allows us to adjust specific hue ranges at a time. So I am going to go up to the Image menu, choose Adjustments and choose this guy right there, Hue/Saturation or you can press the keyboard shortcut, Ctrl+U on the PC, Command+U on the Mac. It brings up the Hue/Saturation dialog box.

Now when Edit is set to Master, you are going to end up adjusting all of the colors at a time. And we don't want to do that. So go ahead and reset that Hue value, in my case, back to zero. Instead, we want to adjust one color range independently of the other color ranges. As long as you don't have this set to Master, you can select anything you want. In other words, you could either say, gosh! I think those colors inside of her eyes are currently Cyans, or you could say, God, I don't know what they are, I'll just choose Reds. It doesn't matter, because notice even if I say Reds, which is obviously not right. If I then move my Eyedropper into the image like so and I click, then Photoshop is going to say, that wasn't Reds, that's something else. In this case, it decided that it was Greens. Then if I Shift+Drag inside of the eyes a little bit and I'll Shift+Drag inside of this eye as well or Shift+Click, and we are basically lifting colors just as we would lift colors inside the Color Range dialog box.

Then Photoshop is going to update on the fly. It may decide ultimately that you are working with Cyans or it may like it is for me just stubbornly say, no you are working with Greens. You can adjust that as well. If you look down here on the color bar, you'll see that it has selected this big range of colors going from yellow right here. So look at the straight bars, all the way from yellow wrapping around through cyans and back to roughly cobalt, let's say. The triangles represents the fuzziness, the soft drop-off of the color to ensure that we don't have jagged edges. Well, let's say I want to take the Greens out of the equation, because I don't know what it's doing, telling me it's Greens. I don't want to change a bunch of Yellows and Greens inside of this image. So I just go ahead and drag this light gray area right there over to the right hand side and I'll go ahead and release.

Notice as soon as I start getting into the cyan region, it now reflects that change and it says, okay, you're working with Cyans, fine. Now then, in order to get rid of the color inside of the eyes, I am going to reduce the Saturation value down to -100 and that is going to make the Whites of the eyes neutral. So I am just trying to change the Whites of the eyes, I don't want to change th irises, I don't want to change this fleshy portion of the eyes either. Next, let's change her dress. I am going to go ahead and select a different Edit range, just to establish that we want to work with a different range. You can work with as many as six different ranges inside the image. Notice there are my Cyans, what were formally called Cyans inside the image are now called Cyans 2, but we're not doing anything with that bank of colors.

This time, I am just going to switch to Magentas because I know it is Magentas. Go ahead and switch to that option and then I'll click inside the dress just to establish that it's a base color and I'll Shift+Drag a little bit through the dress in order to grab some other colors as well. Now I am going to increase the Hue value to 35 so I am rotating the Hue 35 degrees around the big color wheel. You can see here, I am going to go and zoom in on the dress. You can see that I am really changing too many colors in the dress, because not only am I changing the Magenta areas, but I am also changing these reds inside of the dress to more of like flesh tones and I don't want that, because for one thing they start to look like holes in the dress. Also, they just look out of keeping with the rest of the image.

So let's go ahead and drag back on this gray area right there, this light gray area in order to move the colors back over, so that we're constraining this range of colors that we're changing. Ultimately, you'll start to see those sort of orange areas drop out of the dress. I might go ahead and expand the dress this direction a little bit as well, just to make sure that we have more then enough color selected. This looks great to me. So I am going to go ahead and click OK in order to accept that modification and just so we can see what we were able to accomplish here, it's pretty subtle, but this is before, watch the eyes and the dress if you can, even though they're on opposite sides of the image. This is before, so you can see that the eyes look pretty darn blue than whites of the eyes do, and the dress looks like a very hot magenta color.

This is after, the dress now is more of a toned down rose color and the eyes are neutral. Let's zoom out again. One more thing that we need to do. We need to increase the contrast of this image, because it's too low contrast, especially for the foreground shot here. So I am going to go up to the Image menu. I am going to choose Adjustments and I am going to choose the Levels command. Or of course, I could press Ctrl+L or Command+L on the Mac as we have so many times before. Notice that we don't have a heck of a lot of very hot highlights inside of this image, so the Histogram falls off early on the right hand side. It begins late over here on the left hand side. So our shadows could stand a little darkening as well. So I am going to take that black point up to 5, like so, and you can see that really makes for some richer shadows inside of the image.

I am going to take the white point down to 235 in order to increase the highlights. And just for good measure I am going to raise that gamma value by selecting the value and pressing the Up Arrow key four times in order to increase that value to 1.04 and then I am going to click OK. That is the final version of the image that is the modified version of the colors inside of the image. Just to give you a sense of how far we've come, this is the before version, a very cool version of this young women. This is the after version where she much better matches her environment, I think.

She has still got some problems where the edges are concerned, because she has a ton of light edges tracing around her hair and her shoulders and so on. We are going to start to address those problems using blending, of course, in the next exercise.

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