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

Multiply, Minimum, Blur, and Apply Image


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Multiply, Minimum, Blur, and Apply Image

Now its time to blend this foreground image from photographer Chris Schmitt, along with the background image from Daniel Bruner and both of these guys are with istockphoto.com. Even though one of them is in the UK and the other is in the US. All right and here is what we are going to do. He looks great; I think the edges look superb. We are just going to try to blend those edges so they make a little more sense inside of this document. Now I don't think we are going for a realistic effect here. In other words we are not trying to convince the viewer that he was really shot against this rusty metal background. We are trying to evoke an emotional response at this point. So we are trying to create a work of art in big quotation marks here because I am not sure it's really elevated to quite that level but you get the idea.
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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

Multiply, Minimum, Blur, and Apply Image

Now its time to blend this foreground image from photographer Chris Schmitt, along with the background image from Daniel Bruner and both of these guys are with istockphoto.com. Even though one of them is in the UK and the other is in the US. All right and here is what we are going to do. He looks great; I think the edges look superb. We are just going to try to blend those edges so they make a little more sense inside of this document. Now I don't think we are going for a realistic effect here. In other words we are not trying to convince the viewer that he was really shot against this rusty metal background. We are trying to evoke an emotional response at this point. So we are trying to create a work of art in big quotation marks here because I am not sure it's really elevated to quite that level but you get the idea.

All right we are going to make these edges match a little better. For starters let's go ahead and multiply them into its background because after all he has got dark hair so he is perfect for multiplying and we will do that by making sure he is active now. I am working inside of a catchup document, that's called Complementary images.psd found inside the 14 Calculations folder. Make sure one of your Selection tools is active and then press Shift+Alt+M or Shift+Option+M on the Mac in order to apply the Multiply mode to this Somewhat tarnish layer that's the name of it, the layer on top here. Because our hero is a little bit tarnished after so much familiarity, after so much time spent with him. He isn't really done anything heroic for example and then I am going to press the 7 key to reduce the Opacity value to 70%.

Now he looks like he is being sort of shown on to the image using an overhead projector or the like and so he has more of the cast effect associated with him, we are like - we are lighting the background. All right, now I want you to jump this layer. Go ahead and press Ctrl+Alt+J or Command+Option+J on the Mac and we will call this layer Normal and then let's go ahead and change the Mode to Normal as well and we will change the Opacity value to a 100% and click OK and that will reestablish the Normal version of the guy.

Now we need to tuck back his edges and we are going to do that using a combination of minimize in order to move his edges backwards in order to choke them and Gaussian Blur in order to of course blur the edges and then we are going to do a little Apply Image trick and this is going to work out really nicely actually and we are going to go for some pretty major modifications here. So click on the layer mask that's associated with this Normal layer to make it active, then go up to the Filter menu, choose Other and I want you to choose this guy, Minimum and we are going to go with a very high value, 50.

So 50 pixels worth of scooting those edges back and you can see if I sort of move around inside of the mask here inside of the Preview that's inside the Minimum dialog box, we can see here is the chin for example, we can see how it moves back dramatically and so we are just cutting into his chin as if we have really clipped him in the jaw or something like that. So this doesn't look right at all. But it's going to look better in a moment. Click OK in order to accept that modification. Now let's go ahead and blur things by going up to the Filter menu, choosing Blur and choosing Gaussian Blur our good old friend and I am going to go for a value that's equal to twice, what we just applied using Minimum and this goes back to a lot of stuff that we have done so far and we are going to apply a value equal to twice the Minimum value. So we are going to take that Radius up to a 100 pixel this time around and notice that does a pretty good job of blurring those transitions back so that they don't look so radicalized. Even though we are seeing through his chin at this point and we have a lot of haloing going around his hair.

Now I click OK to accept that modification. Now then we have got two different Layer masks. There is the blob here, if I Alt+Click or Option+Click in this layer mask you can see its quite blobby and then if we go to this layer and all I had to do is click on this layer incidentally to stay inside the layer mask view, you can see that we have got the excellent hair details. Well let's go and merge those two together inside of the Normal mask right there. So go ahead and click on the Normal mask in order to make it active. Now you don't have to actually be looking at the Layer mask, but we are looking at the layer mask so I might as well leave it set that way and then go up to the Image menu and choose Apply Image because we are going to bring one channel into another channel and this works also when we are working with Layer masks, which are really temporary channels. So go ahead and choose Apply Image and we are not going to apply the RGB image on top of this Mask. Notice that's what happing by default. So we just moved a grayscale composite version of the RGB image into this layer mask and the Blending mode was set to Normal because that's the last mode I applied.

What we want instead is a) we want to work with a different layer, we don't want to be working with the Merged layer, we want to work with the Somewhat tarnished layer, which is this guy right here because we need to draw forth its layer mask. So go ahead and select that layer and then from Channel say we want the layer mask and that goes ahead and grabs that layer mask you can see it right there and then of course we want to set the blend mode to Multiply, in order to multiply it in the place like so. So we are blurring inward on those edges but we are never blurring outwards. So that's going to get rid of the haloing. Click OK in order to accept that modification.

Now Alt+Click or Option+Click on the layer mask icon once again in order to see the RGB version of the image and you can see now that we do have a lot of blue hairs but thanks to the fact that we have this mask, I will go ahead and Shift+Click on it to turn it off for a moment and then Shift+Click again that doesn't really do us that much good. What we want to see is the original version of the image. This is the version of the image as it would appear, if it were Normal and a 100%, all right compare this to this version right there, so that we have this drifty hair going on and then of course if we add this layer in the Background set to Multiply in 70% Opacity we get this better effect right there.

So much better stuff going on, thanks to that combination of the Multiply layer of course bolstering those background hairs and then of course Normal with chocked edges, thanks to Minimize, softened edges thanks to Gaussian Blur and then thanks to Apply Edges, we made sure that we are no longer haloing outside the hair, we are clipping the hair details but we are still going inward on the chin, we can still see through that chin that's something that we still have to correct and we are going to correct it in our next and final exercise.

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