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Selecting glass highlights

From: Photoshop CS4 One-on-One: Mastery

Video: Selecting glass highlights

So far we have managed to create a pretty darn incredible glass composition just by dragging the glass against a different background, and setting it to the Hard Light mode, which is why I have called this version of the image Hard Light comp.psd found inside the 23_ masking folder. But I think we can do better. If you take a look at this Glass on pattern.psd file also found inside that same folder, you will see that we have a richer background going on. So it's not quite so dark, and we have some much better highlights, much brighter, more vivid highlights.

Selecting glass highlights

So far we have managed to create a pretty darn incredible glass composition just by dragging the glass against a different background, and setting it to the Hard Light mode, which is why I have called this version of the image Hard Light comp.psd found inside the 23_ masking folder. But I think we can do better. If you take a look at this Glass on pattern.psd file also found inside that same folder, you will see that we have a richer background going on. So it's not quite so dark, and we have some much better highlights, much brighter, more vivid highlights.

Now we can take care of the background by just dimming down the layer a little bit, by reducing the Opacity of the layer. So I'll switch back to this Hard Light comp image, because the layer is selected and my Marque tool is active. I press the 8 key to reduce the Opacity of the layer to 80%, and that brightens up the background quite a bit actually. But it also dims down the highlights. All the more recent to reintroduce the highlights, to select them and then reintroduce them into the composition. So let's go back to Splash in glass, this image right here, the original image from photographer Chris O'Driscoll, and let's select it.

Now I'm going to show you two different ways to select the highlights in this glass. One is to do it very exactingly using the Color Range command, which is a familiar command to us as well. It gives us a lot of control. Then I'll show you the quick and dirty way to do it, just by using a Found Mask, so easy, you will not believe it. It doesn't give you as much control but in our case, we don't need the control as you will see. All right, so here we are. We are looking at the glass. Go up to the Select menu, choose the Color Range command. Or if you loaded Dekekeys, mash your fist on the keyboard, and press O. That's Ctrl+Shift+Alt+O on a PC and Command+Shift+Option+O on the Mac. Up comes the Color Range dialog box, these are the default settings so we are seeing the masked version of the selection inside of the dialog box. And Selection Preview set to None so that we are seeing the original image out here in the image window. Fuzziness is set to 40, Localized Color Clusters is off, Invert also turned-off, we want both of those options off actually.

First thing I want you to do is click in a highlight, such as right here, this highlight right there in the water, works out beautifully. And at this point, you will see that you haven't really selected all that many highlights inside of the image. So let's go ahead and crank up the Fuzziness, and I want you to take that Fuzziness value up to about 125, and now we are selecting quite a few more highlights inside the image. The one thing that's not a highlight that we do definitely need to select is this lime because otherwise we are going to have a translucent lime, and we don't want that. So Shift-click on the lime in order to add the lime to the selection. And notice now that you have a lot of frothy highlight goodness going on inside of the Selection Preview. And if you want to see that Selection Preview, big and beautiful inside of the image window, then change the Selection Preview function right here to Grayscale.

You can also, by the way, this is pretty useful, you can preview the selection against a Black or White Matte, meaning that you will just see the selection set against white for example, which isn't terribly helpful to see, white highlights against the white background. Black though is very useful in the case of this image. So you can just see what a wonderful selection you have created. Can you believe this, that quickly? All we did was click and Shift-click and set the Fuzziness to 125, and we get this deliriously awesome effect. Thanks to one of the most wonderful features inside of Photoshop, the Color Range command. I just love this command.

You can also preview the selection as a Quick Mask, if you want to, not particularly useful to us, but there it is. Anyway, let's just see a Grayscale version of the mask. There it is. Looks nice. Now if you are having problems getting this result, I don't see how you get that problems, but I did go ahead and save off my settings. And you can load them if you want to. If you click on the Load button, you will see that you have got Highlights, which is just the highlights without the lime, and you can click Load to check that out. So notice that the lime is black in this case, so deselect it. Of course, you can go ahead and add it in by Shift- clicking on it if you want to. That will add in that lime. It does a terrific job. Or if you want to get the selection you were seeing just a moment ago or something very much like it, then click Load and select Lime & highlights.axt and then click Load. And you will get this result right there. Or just do it yourself click and Shift-click. That's all there is to it, so easy. Set the fuzziness to 125, wonderful. Click OK, you now have a selection outline, awesome.

Now I want you to press the Ctrl key or the Command key on the Mac in order to get your Move tool on the fly. Make sure that you are seeing a little pair of scissors next to the Move tool cursor. Right now, I'm not. You do want to see the scissors. That will tell you that you are inside the selection, very important. Now Ctrl+drag, look at that. That's amazing. I'm selecting just the highlights. It's so awesome. And I'm so shrill while I'm amazed. And I'll go ahead and drag this guy up here to the title once again, wait for the image to switch over, then drag back down, press and hold the Shift key along with Ctrl or Command and drop. And you get these highlights right there in place, so beautiful.

Now, you might say well, not really. If you start zooming in, we have got some pretty sort of weird transitions going on. We do have the lime, no coconut, but we do have a little bit of orange in the background right there, so that's all right. But then we have got these kind of weird dark areas that don't quite go with the new background. Well, that's because we don't have it set to the right mode. So let's go ahead and rename this layer, color range. Why don't you? And then I want you to change the mode from Normal to, we are just trying to keep the highlights and we are trying to blend those highlights with the background, so we want to drop out the dark colors, so Screen is our guy.

The when in doubt keep the light colors mode and it works out beautifully. Look at that. Now there is one downside, if you are a stickler. There is the downside of the lime turning into a lemon because we are screening the green against the orange, it does go yellow on us. I'm not thinking that's a problem. If you want a lime, you have to go back and grab your greens. You could select the greens independently using Color Range, and then bring them in to this image. And so certainly you can do that, and why don't we just give it a quick trial.

I will go back to Splash in glass right there, press Ctrl+D or Command+D on the Mac to deselect the image. Go back up to the Select menu. Choose Color Range, Ctrl+Shift+Alt+O or Command+Shift+Option +O on the Mac. It's very important that you deselect the image first before choosing Color Range because otherwise the Color Range command will find the intersection of the existing selection and the new one that you are trying to create, which is going to be a mess. So anyway, start with the deselected image and then just click. Wow! It's like it's psychic or something. And that's because the last thing I clicked on was the lime and so that became the foreground color because that's what happens when you click on a color with the Eyedropper. And the Color Range command is set up to automatically grab that foreground color, so it's grabbing the lime.

Incidentally, by the way, we do have the option of just setting Select to Highlights. Just select the highlights without doing any clicking whatsoever, or any other group of colors. But it doesn't really work very well for our purposes. That's what the Color Range command considers to be highlights, which is to say oh, golly, and bad transitions too, really sharp harsh edges, I don't like it, not going to work for the glass. So anyway let's go back to Sampled Colors, and it should go back to our lime. Cool, I'm not going to do anything, if you are not seeing the lime selected, you could click on it. And then click OK.

And then, let's just do another Ctrl+ drag. Make sure you could see the scissors next to your cursor. Ctrl or Command+ drag that lime right there, that little wedge of lime up to the tab. And then wait it for it to switch, and then drag back down and then press and hold the Shift key along with Ctrl or Command and drop it in the place. And now you have got a lime, totally up to you. And you might be able to blend it a little better by setting it to the Color mode or something along those lines, so that it looks like it's little more integrated into the scene. You could also experiment with something like Overlay. I'm totally making this up on the fly, people. So I'm not sure if it's going to work out. It didn't.

I'm glad I provided you with that warning upfront. Wonder what Linear Burn would look like? It would like a rotten lime. So I don't think that's the way I want to go. I probably would go with Color. But I tell you what? You know what I would really do? I would really leave it off. I like the lemon. I think the lemon looks great. Anyway, I'll just go and call this lime just so I know from whence it came. Okay, so that's one way to work, pretty easy. I don't think that was hard or anything, I think that was pretty stinking easy, especially since we are selecting glass. I mean this is one of those things that just seems like it would so darn tough, but it gets even easier to select those highlights. And I'll show you just how easy it can be, you don't need to choose a command, you don't need to go clicking with the Eyedropper, you don't need to click twice with the darn thing. You just need to work with a Found Mask and I'll show you how to work with that Found Mask in the next and last exercise.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27817 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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