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Photoshop CS3 Channels & Masks: Advanced Techniques
Illustration by John Hersey

More fun with Dodge and Burn


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: More fun with Dodge and Burn

In this exercise, we are going to use the Dodge and Burn tools to perform some spot contrast corrections here, and for those of you who have been following along with me all this time, you might be thinking, oh come on, do we have to? We have already done that so much by now! Well, here is the deal. It's a big part of masking. We have to do it over and over again, and of course me being me, I am going to pass along some new stuff this time around. We are going to take a different approach. We have to, for this image, because we still have some bad edges. So we are just going to have to approach differently than we have approached them before.
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  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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Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

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
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

More fun with Dodge and Burn

In this exercise, we are going to use the Dodge and Burn tools to perform some spot contrast corrections here, and for those of you who have been following along with me all this time, you might be thinking, oh come on, do we have to? We have already done that so much by now! Well, here is the deal. It's a big part of masking. We have to do it over and over again, and of course me being me, I am going to pass along some new stuff this time around. We are going to take a different approach. We have to, for this image, because we still have some bad edges. So we are just going to have to approach differently than we have approached them before.

So you will have a few more tools in your mighty arsenal after you are done with these next couple of exercises. So here is what we are doing. We are working inside of a pick up image. If you want to open it up, it's called Merged mask combo.tif, and it's found of course inside of the 16 Tough Stuff folder. I have switched to the Iteration Merge channel down here at the bottom of the stack, and you know what I am going to do, I am going to move it up to the top alpha channel just so that I can get to it very easily by pressing Ctrl+4 or Command+4 on the Mac which I might need to do.

Now, let's go ahead and switch over to the Dodge tool here and if you have been working along with me, then your range is already set to Highlights as it should be. Exposure is set to 50% right there. I would like you to go ahead and turn on the Airbrush icon, which allows you to paint in place. So you can make changes to an image even when you keep your cursor still. So let me show you what I mean. I am going to go ahead and click and hold and notice, as I am holding, I am not brushing at this point. It's making changes. It's making incremental changes, as I drag over this area, as I hold over these areas right here.

You will see it even more if I click and hold it second time. So this is what the Airbrush allows you to do is paint while keeping your cursor in place. And really in the case of this particular channel right here, it's going to permit us to make changes more quickly. So we are going to be able to move through these adjustments at a faster pace. So I am going to go ahead. I am going to paint down the hair here, and I might take a few steps and it is going to take a lot of painting in order to get things done the way we need them to be done.

I am going to paint down here inside of this hair as well with a smaller cursor, and I will paint over this knuckle, thank golly, we didn't completely replace that knuckle with the contents of the second iteration since that would have done all kinds of damage to this finger. We wouldn't be able to save this information at all, but as it is, we are doing a pretty good job here and then I will go ahead and paint down the shoulder as well, and I am going to take multiple stabs at it. I am clicking and dragging several times, and holding upon occasion.

I will go ahead and click and drag some more down here. It is kind of tedious work I have to admit, but it's a kind of stuff that you have got to do. There just isn't anymore automated way to approach it than these tools, and actually I have to say, these tools are pretty darn good for this purpose. Now, I am going to press the O key to switch over to the Burn tool, so that I can take care of this little knuckle flare right there and notice that I change my range to Midtones, so I am going to switch it back to Shadows and press the Escape key on the PC in order to make that option no longer active. Then I will paint away the stuff on top of the knuckle and I will paint away the stuff right there on top of that dress strap.

I will make sure that I am seeing everything that needs to be dealt with. I have no idea what's going on in this selection of the hair. We are going to have to deal with that independently. Let's go up here and paint this section away. I am going to leave the flame alone actually for now. So I am not going to do any work on the flame. Now, on this side of the image, I am just going to make a couple of spot corrections here and there. I really don't want to do too much to this hair. Mostly, I am going to be dodging on this side of the image. So let's press the O key to switch back to the Dodge tool assuming that you took the Sponge tool out of the loop, and I will go ahead and click and drag and hold and do all the stuff that's necessary in order to get rid of these details right there.

I might drag up into this region of hair as well, and I want to drag this stuff away right there. Now, I figure at this point, I can safely get rid of the interior information using the Lasso tool. So let's Shift+Tab away the palette, so I can see what I am doing. Press the L key to switch over to Lasso tool, Alt+Click or Option+Click around these areas right here. I might have to go a little deep into the hair along the right side, go up beyond the top of the head, back down through this little channel beside the match and guys, I have no idea what's going on there.

So I will just go past it, and then around the knuckle of course through this slim channel around this little peninsula, and then down, and release. I think I have created a very nice selection at this point. It should work for us. Now, my background color is white. So l will press the Back Space key or the Delete key on the Mac in order to fill that area with white. Now, I will click outside of the selection in order to deselect the image. We still have a little garbage going on right there. I am not exactly sure how I am going to deal with it.

Let's go ahead and bring back the Channels palette for a moment and what we are going to do, I will actually zoom in another click even. Let's press Ctrl+Tilde or Command+ Tilde on the Mac to see the hair, and it looks like this area. I will just kind of roughly outline it with the Lasso tool. All of this area belongs inside of the hair Now, let's press Ctrl+4 or Command+4 on the Mac in order to switch back to the Iteration Merge channel right here, and it looks like we have done a pretty poor job of selecting this region of the hair. So we are going to have to take another step at it.

Unfortunately, the channels are no help to us. Ctrl+1 for the Red channel, forget about it, that is no good. Ctrl+2 for the Green channel. If I press Ctrl+H, so that we can see these edges. It's just a blur, it's just a mess. Ctrl+3 for the Blue channel, that's a little bit better. But you know, here is the problem that I have with this. It's like hairs are coming upward out of her finger. Do you see what I mean? We have got this region of hair that's kind of glowing up, and then they are coming back down and then we have got some blobby hairs over in this region. I just don't buy it. That just doesn't look right at all.

So I will tell you what we are going to do. We are going to use a different tool. We are going to actually draw our own manual selection using the Pen tool this time around pupil, and we are going to be doing that in the next exercise.

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