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

Turning flesh into stone


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Turning flesh into stone

All right fellow masketeers in this next project we are going to take this dude's face right here and turn it into stone. It's a little bit of a morality story actually, because somewhere along the line this guy's mother must have told him that if he makes a face like this for a prolonged period of time, especially if he makes the classic, I-am -just-crazy-enough to-do-it face which is got to be the worst face of them all. If he makes that face for a prolonged period of time, it's going to turn to stone and we want children of the world around to believe their parents when they tell them that.
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  1. 2h 12m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 9s
    4. Luminance blending
      8m 39s
    5. Forcing the visibility of underlying layers
      4m 3s
    6. Adjusting the appearance of clipped layers
      4m 33s
    7. Selecting a Blend If channel
      6m 11s
    8. Enhancing highlights by hiding them
      5m 8s
    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 38s
    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 34s
    17. Matching colors
      9m 12s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 49s
  2. 2h 32m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 17s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 2s
    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 0s
    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 44s
    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 15s
    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 26m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 21s
    3. Brightening and neutralizing the eyes
      8m 21s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 3s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      5m 59s
    9. Refining the color mask
      6m 39s
    10. Adjusting the edges around fabric
      7m 55s
    11. Perfecting hair
      9m 34s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 47s
    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 45s
    21. Applying the edge mask
      6m 1s
    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 48s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 9s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 0s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 42s
    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 43s
    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 38s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 17s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 8s
    20. Making pupils match
      4m 7s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 36s
    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 21s
    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 32s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 24s
    13. Comparing two channels with Difference
      5m 23s
    14. Enhancing the contrast with Curves
      9m 10s
    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 0s
    19. Painting away the face and chin
      4m 52s
    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 34s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 24s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 14s
    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
      5m 59s
    12. Combining paths in a vector mask
      7m 54s
    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 9s
    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 16s
    7. Roughing in an object mask
      6m 48s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 52s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 8s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 54s
    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 28s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 42s
    21. Building the flame mask
      9m 21s
    22. Amplifying the flame
      3m 52s
    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 24s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 28s
    32. Subtracting and merging the beak
      11m 5s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 49s
    2. Scanning line art in 8-bit and 16-bit
      5m 8s
    3. Measuring the 16-bit difference
      8m 8s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 12s
    6. Editing in Camera Raw, opening in 16-bit
      8m 21s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 17s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      5m 59s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 24s
    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 31s
    5. Using a two-channel displacement map
      6m 27s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 33s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 3s
    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 4s
    14. Making a repeating watermark pattern
      9m 21s
    15. 3D embossing with Lighting Effects
      10m 47s
    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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Watch the Online Video Course 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
Design Photography
Deke McClelland

Turning flesh into stone

All right fellow masketeers in this next project we are going to take this dude's face right here and turn it into stone. It's a little bit of a morality story actually, because somewhere along the line this guy's mother must have told him that if he makes a face like this for a prolonged period of time, especially if he makes the classic, I-am -just-crazy-enough to-do-it face which is got to be the worst face of them all. If he makes that face for a prolonged period of time, it's going to turn to stone and we want children of the world around to believe their parents when they tell them that.

So that's what we are going to do, we are going to take this dude right here, take this guy make him the classic, just-crazy-enough-to-do-it face, and appropriately this image is called Just crazy enough.tif. It's found inside the 18_Displace_Maps folder. And we are going to wrap this stone around his face. Now this isn't actually stone, this is a kitchen tile, and it's probably made of petroleum or something along those lines, but it will work as stone. It will look like stone once we put it on the fellow's face. And the name of this image is Granite like tile.jpg. Also found inside the 18_Displace_Maps folder. This image comes to us from Jacintha Van Beemen and this one from Joseph John Roland Dube a very classy photographer. Actually he does really great work, and the man responsible for making the just- crazy-enough-to-do-it face. Both these photographers are with

Step number one is to go check out the masks inside of the Channels palette. I have created a couple of masks. The first one is called face. I made this mask using the Color Range command. I clicked and Shift+Clicked at various points inside of his face, and then I enhanced the mask of course using the Dodge and Burn tools. We are not going to go down that road. For the hundred million times we have seen enough of that by now I think. And then I also, I missed his neck in the process of selecting his face. I didn't quite get his neck. So I went ahead and made another pass and saved his neck in a separate alpha channel.

You could see if I turn on the RGB image at the same time here, you can see that his neck is very slim at points, because he is hunkering down. If you are making the classic just-crazy-enough- to-do-it face, you got to raise your shoulders, and you got to look crazy, I guess. And also after selecting this neck and I've got a little bit of whisker action which I like. We'll go ahead and turn of that RGB image once again. I selected up into the ear and then I used the gradient in order to dim the ear just a little bit. All right so those are the channels that we have to work with. I also have some paths, these eye paths right there. And I love these eye paths. I'll show you why, watch this. If I grab the white arrow tool, and I click at the top of the paths, we'll get these little levers and Shift+Click at the top of this one.

Then he's got these sort of manacled eyes, sort of the clock work orange device around his eyes, which I think is very fitting as well, because that would be his other punishment. Besides turning his face to stone we would also manacle his eyes, and make him watch movies of people making ridiculous faces, so he's not inclined to ever do it again. Anyway, so we got these paths. They will come into play in just a moment as you'll see. All right, let's go back to Layers palette, zoom out. All right, taking the entire monstrosity here, and I am going to press Ctrl+Shift+N or Command+Shift+N on the Mac to bring up the New Layer dialogue box, and let's call this Stone, because it approximately is. And I'll click OK. And we have an empty layer of stone of course.

Now let's go up to the Image menu and choose the Apply Image command. I quite like this way of working actually. Choose the Apply Image command, and we'll change the source from Just crazy enough to Granite like tile.jpg, and set the Blend mode to Normal of course, Opacity 100%. Checkboxes off except for Preview, click OK, and we have filled that new layer with the stone pattern. Now let's go ahead and grab the channels here. I am going to Ctrl+Click on the face channel, in order to load it as a selection outline, and then Ctrl+Shift+Click on the neck channel in order to load it as well. If you are working on a Mac, you would Command+ Click on the face channel, and then Command+Shift+Click on the neck channel in order to load it. So we're basically merging the two channels together into a single selection outline.

A couple of chapters ago I was telling you how you can also merge channels together, merge a couple of Alpha channels into a single channel by going up to the Image menu, choosing the Calculations command, selecting these two channels and setting the Blend mode to Screen, and you may wonder well what's the difference. There is no difference. When you are combining masks in a way we just did, Ctrl+Shift+Click or Command+ Shift+Click, then you are performing a Screen Blend mode. You are blending the two channels together into a single selection outline using Screen. That's the way it works.

All right, anyway let's go back to the Layers palette. Let's apply this selection outline as a layer mask by clicking on the Add a Layer mask icon and there it is, looks very, very nice of course. Now I do want the stone to blend a little better with the shadow contours in the face and ultimately I am going to be applying the Overlay blend mode, but before I do I want to take advantage of those luminance exclusion slider bars inside the big Layer Style dialogue box. So let's go ahead and increase the width of this layer just a little bit and I am going to press the F key so that I enter the Full Screen mode and I can move this guy over to the left a little. So then I can see him and the Layer Style dialogue box at the same time.

Double click on the thumbnail, in order to bring up the Layer Style dialogue box, and I am going to Alt or Option+Drag the right half of this black underlying layer triangle to 140, so that we get a soft drop off between 0 and 140, like so, and you could see how I just introduced some additional shadows into the granite contours. Now I am going to move the white triangle, once again, the one that's associated with the underlying layer slider. I am going to move it over to 255 and I am going to Alt+Drag or Option+Drag the left half of this triangle over to 175 like so. And these are values I am looking for that this layer slider can remain the way it was, don't make any changes to it.

And just so you can get a sense of what we were able to accomplish there, this is before and this is after, so an awful lot of blending going on. Now I don't want the granite to go into his eyes, because his mother didn't warn him that his eyes were going to turn to stone. It was his face implying his flesh, of course, was going to turn to stone. So we need to remain true to mom's advice there. Being parent, I am very respectful of this kind of thing, don't you know? So switch to the Layer mask, make sure it's active, then let's go to the Paths palette. I want you to Ctrl+Click or Command+Click on the eyes in order to load that selection outline. Now let's go back to the Layers palette. And as I say we have the layer mask selected, that's good.

Check out your foreground and background colors. Foreground color is Black, so I'll press Alt+Backspace or Option+Delete in order to fill the selection outline with Black. Let's see how that looks, it's looks great actually. So Ctrl+D, Command+D on the Mac in order to deselect the image. And zoom out just a little bit so that we can take in his entire face and finally what we are going to do, click back in layer thumbnail. It's not essential you do that, but you might as well. And I am going to change the Blend mode to Overlay by pressing Shift+Alt+O or Shift+Option+O on the Mac. Is that not nice? I think that looks great, actually.

There's one problem with it of course, and that's the granite doesn't wrap along the contours of his face. It is just sitting on there, and I think we could get a more believable effect. I mean I think this looks good. Here's what he looked like before, here's what he looks like now. So we definitely have a nice coating of stone on him, but if we were to apply a displacement map as well, we could get that stone to wrap along the contours of his nose, and his lips, and his cheek, and his jaw and so on, and that is exactly what we are going to do in the next exercise.

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