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

Restoring normal colors


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Restoring normal colors

All right people, it maybe a long way to Tipperary, but it's an even longer way to the end of advanced blending inside of Photoshop and yet here we stand poised to completely finish this chapter and this composition that we've been working on here. We've successfully established the transitional layers, one multiply and one luminosity layer that will help us blend this young lady with her new background. We are now going to top it off with an application of yet another layer set to the normal blend mode, slightly blurred inward as you'll see and it's going to basically we're going to create a composition that makes it look as if she spent her entire life against this background, she is going to look so absolutely credible.
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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

Restoring normal colors

All right people, it maybe a long way to Tipperary, but it's an even longer way to the end of advanced blending inside of Photoshop and yet here we stand poised to completely finish this chapter and this composition that we've been working on here. We've successfully established the transitional layers, one multiply and one luminosity layer that will help us blend this young lady with her new background. We are now going to top it off with an application of yet another layer set to the normal blend mode, slightly blurred inward as you'll see and it's going to basically we're going to create a composition that makes it look as if she spent her entire life against this background, she is going to look so absolutely credible.

So I am working on as usual the updated version of this image, it's called Transitionals.psd found inside the 10 Advanced Blend folder. I want you to make sure that the top layer Lum is selected and then go ahead and press Ctrl+Alt+J or Command+Option+J on the Mac in order to jump it to yet another layer. We'll call this one Norm for normal. She is not actually changing her name to a man's name and then we'll switch the mode from Luminosity way here at the bottom of the pop up menu to normal way here at the top.

So go ahead and choose the Normal mode. That's all we have to do inside this dialog box. So click OK in order to accept that change. Miraculously her original colors are reinstated. Bad news is that we have some edges that need a little bit of work right here. So let's go ahead and work on them. I want you to click on the layer mask for the Norm layer. So just go ahead and click on layer mask thumbnail for this top layer in the stack. We don't need to choke this layer anymore, I just want to go ahead and blur it. So I am going to reapply the last filter we applied. Assuming that you've been working along with me, that last filter is right there, Gaussian blur, so all you have to do if that's the case is press Ctrl+Alt+F or Command+Option+F on the Mac in order to revisit the Gaussian blur dialog box. I am going to change the radius value to 40 pixels like so and I will go ahead and drag that preview over so we can see the before version, then I will release. This is the after version. Very fuzzy indeed, so I basically doubled the radius value this time around.

I will go ahead and click OK. Now we have that same problem we had before last time we applied Gaussian blur just in the last exercise. Well, not only do we blur inward which is a good thing but we blurred outward as well. By virtue of the fact that we blurred outward, we've created this halo around the girl's shoulders and around her hair and so forth. In order to get rid of that halo, we could revisit that multiply layer mask once again. But this time we don't have to, we just applied one filter and one filter only, just Gaussian blur so we can fade it with the original appearance of this layer mask by going up to the Edit menu and choosing Fade Gaussian Blur or you can press Ctrl+Shift+F, Command+ Shift+F on the Mac. Just go ahead and choose the Command though and now you can establish a blend mode.

We want to adjust the areas of white inside of the image. So in other words, we want the Gaussian blur inward but not outward. That means Gaussian blurring into the white area, but not into the black area. So we're going to take the blurred version of the image and use it to darken the original version of the image and we're going to do that using the Multiply mode. So go ahead and choose Multiply and watch this area is going to go away, there it is. We totally get rid of that halo there because we just used the original version of the mask in order to multiply away the bright edges of the new version of the mask. All right, now that we've done it, go ahead and click OK in order to accept that modification and we are done, that's all it takes. And if you were to take a look at these various layers as we will right now, you can see that every single one of the layers is making an important contribution to the overall whole. So this is what things look like without that Multiply layer.

You can see that we're totally now missing those dark edges that we need to burn in to the background. We desperately need those edges in order for this composition to work. So go ahead and turn Multiply back on. If we didn't have the Normal layer obviously, if I were to turn Norm off, we wouldn't have any of the proper colors inside of the interior of this image. So we wouldn't have the right flash tones, her dress would look wrong, her lips would look wrong, her eyes would look wrong, her hair would look wrong and so on of course. So I will go ahead and turn normal back on, but even the Lum layer, the Luminosity layer is making a very important contribution. If you turn it off, you'll see what the big difference is.

You'll see how our transitions don't look right at all. We're too dark, we're too translucent here around the edges of the shoulder and the hair and so on. With the help of that Luminosity layer though, we have a nice step in between Normal and Multiply. So the entire composition works. All right, I am going to go ahead and zoom out, and you can see it just looks great, feels awesome inside of this new environment. Now, let's say we want to move her into a different position. We need to be able to move all those three layers at the same time. So go ahead and click on one, Normal is selected for me right now. Then, Shift+Click on the last of the three. So I'd click on Norm and then Shift+Click on Multiply in order to select this entire range. Then, I am going to go up to the Layers palette menu and I am going to choose New Group from Layers in order to group all of these layers together. Photoshop will invite me to name this group and I will just go ahead and call it young lady because that's what she is and I will click OK in order to accept that result.

So now we have all three of the layers grouped together, so that they will move together, we can transform them together and so on. Now, I am going to tab away my palettes and if I were to Ctrl+Drag the image, I would move all three layers at once. So I will go ahead and cheat her over to the left hand side a little bit and that is the final version of my image. I am going to go ahead and fill the screen with the image, and I am going to go ahead and zoom in and voila, there it is. What an awesome composition. Check out those hairs, those details around the edges.

Not only do we have every single hair intact, but we have these wonderful bursts as well. So, all that softness that we had inside of the original image has been conveyed into this new background as well. So we're wrapping the warmth around the right side of her head and we are -- just on and on. I mean we can see through -- even we can see through these edges of her shoulder as well which is in keeping with the original version of the photograph. So a beautiful, credible composition, thanks to a little bit of masking and a whole lot of advanced blending inside of Photoshop CS3.

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