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Smart Object first, layer mask second

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Smart Object first, layer mask second

Here I am looking at the final version of our composition. This is the image called Study in blue.psd that's found inside the 10_Advanced_Blend folder. Notice that this image contains a swirling background. You can see these concentric rings that are at work in the background there and those concentric rings are a function of a Smart Object that has been modified by a layer mask and the Smart Object has a couple of Smart Filters applied to it, each of which are set to different Blend Settings and that's what we're going to be doing, we're going to be creating that Smart Object, we're going to be working with the layer mask, we're going to be applying the Smart Filters over the course of the next few exercises here.

Smart Object first, layer mask second

Here I am looking at the final version of our composition. This is the image called Study in blue.psd that's found inside the 10_Advanced_Blend folder. Notice that this image contains a swirling background. You can see these concentric rings that are at work in the background there and those concentric rings are a function of a Smart Object that has been modified by a layer mask and the Smart Object has a couple of Smart Filters applied to it, each of which are set to different Blend Settings and that's what we're going to be doing, we're going to be creating that Smart Object, we're going to be working with the layer mask, we're going to be applying the Smart Filters over the course of the next few exercises here.

I'm going to bring up the Layers palette so that we can see what's going on. Notice this swirling layer of beige right here, that's modified by this layer mask. I'm going to go ahead and make my Layers palette wider so that we can see that it's named. It's called tiles and this little icon right there indicates that this is the Smart Object, that includes Smart Filters. I'm going to go ahead and click the down pointing arrowhead so that we can see those Smart Filters. Actually, I'll start things up by turning off the Smart Filters by clicking that eyeball to turn it off and you can see that these are just regular paving tiles at work behind this woman's head here. Then I've applied two passes of the Radial Blur filter, each set to different Blending Settings. As I say, that's what we're going to be doing over the course of the next few exercises.

Notice that we have a layer mask, and the reason is, we can't rely on Luminance Blending this time around, because not only do we want the tiles, the swirling tiles to appear in back of her flesh which of course we could reveal using Luminance Blending if we wanted to, but we also want them to appear in back of the goggle. So we don't want the goggles to be part of this equation here. We want the goggles to be in front of the swirls. Therefore, because the goggles are the same color as the background, we need a layer mask. Let's go grab the tiles. I'm going to take you to this image right here. It's called Tiles.jpg, it's found inside the 10_Advanced_Blend folder, like usual, and this image comes to us from Photographer John Sigler. I want you to go ahead and press Ctrl+A, Ctrl+C or Command+A, Command+C in order to copy the tiles to the clipboard.

Then I want you to switch to this image. This is a composition in progress right here. For those of you just joining me, the name of the image is called Nice highlights.psd. Again, it's found inside of the 10_Advanced_Blend folder. Now, the most obvious thing to do, the most sensible thing to do, since we want to modify the tiles with a layer mask and I've already created the mask in advance for you, the most sensible thing would be to load that mask and then paste the tiles into it. So let's go ahead and try that logical solution, even though it doesn't turn out to be the right solution for us. I'm going to go to the Channels palette, let's go ahead and hide the Color palette for now. You can see that I've got a series of Alpha channels, four channels in all. That would show you how I went about creating this final mask right there, the one that's called cleanup.

I will show you, for those of you who are interested; I will show you how I created this mask in the future exercise. But for now I just want you to load it up by Ctrl+Clicking on it or Command+Clicking on that cleanup thumbnail on the Macintosh side of things. Then go back to the RGB image. I'm going to Shift+Tab away my palettes for a moment so that we can see the entire image and then I would go up to the Edit menu and I would choose Paste Into, or I could press Ctrl+Shift+V or Command+Shift+V on the Mac in order to paste the tiles into the layer mask. Now, we have a layer mask. If I return to the Layers palette here, you can see that I've got a layer mask right there. There is my tiles, everything is hunky-dory. Now before I can apply Smart Filters, I want to apply those Radial Blur items to Smart filters, reason being because I want to have Blend control over them. If you want to be able to control the Blend Settings, you need to work with Smart Filters and that means converting this image to a Smart Object.

But check it out, because it's got a layer mask, watch what happens. If I go up to the Layers palette menu, and choose this command right there, Covert to Smart Object or if I prefer then I could go up to the Filter menu and choose Convert for Smart filters, either one is going to work fine. I've also, by the way for those of you who loaded my Deke keys, way back in the preface, I've given you a keyboard shortcut of Ctrl+Comma or Command+Comma on the Mac in order to create a smart object, because it's a very handy thing to be able to do inside Photoshop CS3. As soon as I converted this image to a Smart Object, notice what happens, the layer mask gets gobbled up inside of that Smart Object. So you can now see that it's a Smart Object because of that little icon down there in the lower right corner of the thumbnail, but I can't get to the layer mask anymore unless I double-click on the thumbnails.

So if I double-click on the thumbnail, that's going to open up the Smart Object. Photoshop is going to give me a warning letting me know I'm opening the Smart Object. So I'll just go ahead and click OK. Now there is the tiles, right there, modified by the layer mask. That's not a very convenient solution, especially if I think I might want to edit that layer mask in the future, which I undoubtedly would like to do. So it's better to convert your layer to a Smart Object and then mask it. Let me show you what I mean. I'm going to go ahead and close this Smart Object by clicking on this little close box right there, or I could just press Ctrl+W or Command+W on the Mac in order to return to the host composition right here, by which I mean this is the composition that contains the Smart Object.

I'm going to go ahead and press Ctrl+ Alt+Z, Ctrl+Alt+Z, Command+Option+Z, Command+Option+Z on the Mac in order to backstep two steps, so that I get back to the point at which I had my selection outline going here inside the image. Now I'm just going to press Ctrl+V or Command+V on the Mac to just do a straight paste. Instead of a paste inside, I'm just doing a straight paste. My selection outline goes away; it's ignored the whole number. Now the image, because it's the same size, it is exactly centered inside of the new composition. Let's go ahead and call this image tiles and then let's convert it before we do anything else, let's convert it to a Smart Object. So I'll go up here to the palette menu once again and I'll choose Convert to Smart Object or I could press that keyboard shortcut Ctrl+Comma, Command+Comma, if you have loaded Deke keys.

It becomes a Smart Object like so. It retains its name. That's a very nice thing. Now let's go to the Channels palette, Ctrl+Click or Command+Click on cleanup, like so, in order to load it as the selection outline. You can see the marching ants at work here inside of the Image window. Go back to the Layers palette. Then go down to this little icon at the bottom of the Layers palette, the layer mask icon and click on it. It becomes a layer mask for the Smart Object. So now we can get to the layer mask at any point in time in the future.

It's right there and we're not going to have to enter the Smart Object to do our work. Now one other thing that I want to note, you may see that there is no link icon between the layer mask and the Smart Object. You cannot, in Photoshop you cannot link a layer mask to a Smart Object. It's just not possible inside the program. I think it's an oversight, maybe it's something you'll deal with in a future version of Photoshop. But for now just note that that's not a possibility. All right, so far so good. We've managed to introduce the tiles into the background right there. In the next exercise, I'm going to introduce you to the Fill Opacity 8, which are the eight blend modes that respond differently to the Fill value than they do to the Opacity value, stay tuned.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26280 viewers

Deke McClelland

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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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