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Prepping an image with the Dodge tool

From: Photoshop CS5 One-on-One: Mastery

Video: Prepping an image with the Dodge tool

I've saved my progress as Masks in progress.tif found inside the 26_masking folder. And I'm chosen the TIFF file format for a very specific reason. Now I don't need to resort to the PSD format because I don't have any layers inside this image. It's flat so far. And JPEG doesn't support alpha channels. You cannot save alpha channels along with JPEG. So TIFF is your best bet because the TIFF file format does support alpha channels. And if you turn on LZW compression, which is a lossless compression scheme, so it's not going to harm your image, the TIFF file format does a great job of compressing your masks because large areas in the mask are black, large areas are white and they compress down very nicely, again with LZW.

Prepping an image with the Dodge tool

I've saved my progress as Masks in progress.tif found inside the 26_masking folder. And I'm chosen the TIFF file format for a very specific reason. Now I don't need to resort to the PSD format because I don't have any layers inside this image. It's flat so far. And JPEG doesn't support alpha channels. You cannot save alpha channels along with JPEG. So TIFF is your best bet because the TIFF file format does support alpha channels. And if you turn on LZW compression, which is a lossless compression scheme, so it's not going to harm your image, the TIFF file format does a great job of compressing your masks because large areas in the mask are black, large areas are white and they compress down very nicely, again with LZW.

Anyway, what we're going to do in this exercise is we're going to exaggerate the contrast of the image to make it easier to mask. Now we're not going to harm the image itself, we're going to leave the original image alone. We're going to do our work on an independent layer. And this a the technique that I came up with where this specific image is concerned and it's served me very nicely. We're going to use it first to draw out the hair detail, and then we're going to use a variation on this technique in order to draw for the skin. So I'm going to switch to the RGB image, then switch over to Layers panel like so, and I'm going to press Ctrl+Alt+ J or, Cmd+Options+J on the Mac in order to jump this layer.

And I'm going to name the new layer Dodged, and I'll click OK because we're going to be dodging the background using the Dodge tool. And the Dodge tool happens to be terrific for this purpose because you can make selective modifications just in very specific areas of the image without having to resort to a global modification like you might make with the Levels command or the Curves command or what have you. Anyway, I'm going to go ahead and zoom out a click so that I take in the entire image at a time. And I'll switch over to my Dodge tool which I can get by pressing the O key as you may recall. Now I want a way bigger cursors so I'm going to increase the size of this guy to about 500.

I could right-click inside the image window so you can see I have a brush diameter of 500 pixels and my Hardness is set to 0%, that's very important. So make sure your brush is set accordingly. And then for purposes of this image, so I can get more work done more quickly, I'm going to raise the Exposure value here to a 100% just by pressing the 0 key. Notice that Protect Tones is turned on. Now this is an option, were I to be working inside of a mask, inside of an alpha channel, this option would be dimmed because it's only applicable to full color images.

And so that's why I'm working this way. I'm changing the full color image before I go into a mask, before I go into an alpha channel that is, where I'm relegated to a single channel of luminance levels and nothing more. Meaning that I can get more nuanced work done in full color once again. And then I'm going to scrub at the image like so and notice that I'm going at it with multiple brushstrokes. So I'm not just painting back and forth, I'm lifting my mouse button and then starting over again. So I'm drawing one brush stroke after another and you may find it helpful to just click around in spots like so.

I want to get that background as bright as possible without ruining the hair details. And don't worry about the skin you can paint all over her. That doesn't matter because we're going to select the skin in a separate pass. We're just interested in getting this background bright and you want it bright all the way to the corners, by the way, because that will give you a high degree of control later on when we're editing the mask. It'll give you a nice range of backgrounds so that you can get every single hair inside this image. Now you have to be careful once you start getting into the top hairs, this region right there, because it's easy to blow those guys out if you're not super careful.

I'm going to go ahead and fill in the bottom region of the image, that is the bottom right region. And so I've probably clicked about 40 times now, incidentally. You're going to be doing a lot of brush work inside of this image in order to make that background nice and bright, but this is going to result in such a better mask, you're not going to believe it. Anyway, let's go ahead and paint, paint, paint. This is, kind of, like watching paint dry, frankly, it's not very exciting stuff, but it needs to be done. I'm going to reduce the size of my cursor in order to keep these guys up at the top here.

I want to paint next to them not directly on them too much because I'll start losing that detail. The same around these hair because they are very delicate so you just want to take it easy, up here as well. So I'm trying to paint around the hairs with the smaller brush as you're seeing. I'm going to have to paint over them to some extent like so because I do need that background to get bright. Then finally, let's see here I should be able to click, click, click, click down here in the lower left corner of my image in order to give myself a big margin between the stuff I want to select and deselect here inside this image.

All right, that looks pretty darn and good to me actually. Now I'm going to switch back to the Marquee tool just by pressing the M key so I don't see that gargantuan brush. And I'll go up to the Image menu and I'll choose Calculations once again, and I'll see the last settings that I applied, that is, Subtract with an Offset of 50. Now you may look at this and go wow! All that work we just got done painting with that Dodge tool like crazy, my hand's tired. And look what's happening inside the image preview, nothing, it looks just the same as it did before. What a total waste of time, Deke, I'm not going to pay anymore attention to your training from now on.

Hut here's the thing. Our Layer is set to Background. That's the problem. What we need to do is set the Layer to either Dodged or Merged. Either ones is going to work. Let's go with Dodged though. And I'll set this guy to Dodged as well. So they both have to be set to that same option and now notice the difference. All right, I'm going to go ahead and increase the Offset value, the Subtract mode is just fine, but I want to brighten up the details inside the image. So I'm going to press Shift+Up Arrow. And notice, by the way, my Channels are still set to Blue, Invert off, Red for Source 2, Invert on.

That's very importance. I'll keep taking that Offset value up. I'm just pressing Shift+Up Arrow until it goes to it's absolute maximum at 255. And notice what we have here we have this wonderful level of detail where the hair is concerned. Yes the background is not quite black. It's a little brighter than black, but that's okay because we can darken that up very easily. What we need is all of that bright white hair detail. It looks so much better than it did before. I'm going to go ahead and click OK in order to accept that new channel.

And now let's go ahead and take a look at it here inside the Channels panel. This was the result we came up with before in the previous exercise, subtract offset 50. Now, with this guy, Alpha 1, which I'm going to rename subtract offset 255 (dodged), because I worked from the Dodged layer. This looks a heck of a lot better. So just a little bit of work clicking around there with the Dodge tool ended up doing a sensational job of paving the way for creating a base alpha channel.

In the next exercise I'll show you how to increase the contrast between the white hairs and the dark background.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43966 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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