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Photoshop CS6 One-on-One: Advanced

Using the Selection Bleed option


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Using the Selection Bleed option

In this movie I'll introduce you to selection bleed, and the idea is this: If you select a portion of an image and you apply any of the filters in the Filter Gallery, then you can choose whether or not to bleed the deselected portion of the image into the selected region. Now when you're using a filter like Gaussian blur, this happens automatically. The great thing about Field Blur and the others is that it doesn't happen automatically, and I'll provide you with a couple of examples. Over the course of this first project, which is going to bleed, if you will, into the next movie.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Using the Selection Bleed option

In this movie I'll introduce you to selection bleed, and the idea is this: If you select a portion of an image and you apply any of the filters in the Filter Gallery, then you can choose whether or not to bleed the deselected portion of the image into the selected region. Now when you're using a filter like Gaussian blur, this happens automatically. The great thing about Field Blur and the others is that it doesn't happen automatically, and I'll provide you with a couple of examples. Over the course of this first project, which is going to bleed, if you will, into the next movie.

we're going to take this Wall Street Bull from the Fotolia Image Library and we're going to turn it into something that has a lot more impact, a much more interesting composition in my opinion. So, let's start things off by making a copy of this Smart Object. Notice I have a Smart Object selected. And if you go up to the Filter menu, you'll see that there aren't that many filters that you can't apply to a Smart Object. There's Liquify and there's Vanishing Point, and the only other ones are located in the Blur submenu, and they include the first three filters, which comprise the Filter Gallery, and then we've got Lens Blur.

So everything else can be applied to a Smart Object. So what do we do in this case? How do we turn this Smart Object into a flat image layer? Well one way to work is to press Ctrl+A or Command+A on a Mac in order to select the entire image and then press Ctrl+Alt+J or Command+Option+J on a Mac in order to jump the selection to a pixel-based layer. And I'll go ahead and call this layer backdrop and then I'll click OK. And we now, as you can see by the lack of little page icon here in the thumbnail, we now have a flat image layer.

Now I want to select a region of the image by switching to the Channels panel, and you can see I have a couple of alpha channels set up in advance. Recall that white represents the selection and black represents the deselected area. So I start by drawing this basic selection outline using the Polygonal Lasso tool. Then I used the Refine Edge command in order to clean it up, and we'll learn more about Refined Edge in a later chapter in this course. But for now what I want you to do is just load this selection by Ctrl+Clicking on the Refine Edge Channel; on a Mac you'd Command+Click on it.

Then switch back to the RGB image, switch over to the Layers panel, and because we want to blur the background and not the bull, we need to reverse the selection by going up to the Select menu and choosing the Inverse command. Or you can press Ctrl+Shift+I or Command+Shift+I on a Mac. All right, now just to make sure that we're starting from scratch and we're not applying any old settings, just go to the Filter menu, choose Blur, and once again choose Field Blur. And you'll end up seeing this number here, with the marching ants surrounding the selected background and a single default pin set to a Blur Radius of 15 pixels.

All right, I am going to drag this pin to this region there, right under the animal's arm, and I'm going to increase the amount of Blur. Just so we can really tell what's going on here, I am going to increase it to 30, by dragging clockwise inside the ring. And then I'm going to set another blur point down here by clicking, and I am going to decrease its Blur value to 4. I don't want to send it all the way to 0; I want to keep some blurriness there. And these two, you want to make sure that these two pins are more or less in line with each other.

And you have to do that manually, by the way; you're just going to have to eyeball it. But you can check the mask if you want to, by tapping the M key. And if the M key doesn't stick, by the way, if the mask ends up blinking in and then blinking out, just tap the M key more quickly. And what you should see is a pretty straight gradient. You don't want to see a lot of angle to this gradient. All right, I am going to tap M again and now notice this Selection Bleed option right there. It's set to 0%. I am going to press, by the way, Ctrl+H or Command+H on a Mac to hide the marching ants. That also goes ahead and hides my pins, by the way.

Right now, it's set to 0%, which means that we don't have any halo around the selection, so the deselected bull is not bleeding into the selected background. If we wanted to change that, I could crank that value up to 100%, and notice now the horn, for example, the deselected horn, is bleeding outward; the blur is actually bleeding outward into the background. So the Blur Gallery is taking the deselected area into account. As I say, that's the way it works with Gaussian blur, and with just about every other filter inside of Photoshop, but the Blur Gallery is special.

Anyway, I don't want that much selection bleed; I just want a little, so I am going to take this value down to 35%. Then we'll go down to the Blur Effects here. Notice that the Bokeh is turned on; however, the values have reset to their defaults. At least that's what you should see. I am going to go ahead and turn Bokeh off, because I don't want it for this specific effect. Then I'll go up to the top of the window and click on OK in order to apply that blur to the selected layer. All right, we'll finish this project in the next movie when we discuss Iris Blur, but in the meantime, I'm going to switch to another image. Let's say I want to blur this background, which is separated from the glasses by the way, so we've just got this beach in the background, as you can see if I Alt+Click or Option+Click on the eye in front of the beach layer. I'll Alt+Click or Option+Click again. I am going to press Ctrl+J or Command+J on the Mac to make a copy of this layer, and then I'll switch over to the Channels panel, and notice I have this alpha channel that contains a gradient.

So it's going to protect the bottom portion of the beach, and it's going to reveal the waves and the entire background and make that available for blurring. So I'll press the Ctrl key or the Command key on a Mac and click on that channel to load it up as a selection outline. Then I'll switch back to the RGB image, return to the Layers panel, and then press Ctrl+Alt+F or Command+Option+F on the Mac in order to reload the last settings applied. And this is really interesting. Notice now that we can't see the pins, but we can see the marching ants, which is great. Now I'll press Ctrl+H ,and it reverses, so you don't see the marching ants anymore--we wouldn't want to see those--but we can't see the pins, which is pretty darn useful.

Then go up to the Options bar here and click Remove all pins, so that we can start over. And I'm going to click to set a pin right at this location there. And a Blur value of 15 pixels is a little high for this effect, so I am going to take it down to 10. And notice what's happening here: if you look closely, you'll see that the blur is not so much unblurring--in other words the landscape is not coming into focus as it comes toward us; instead, the blur is just becoming more translucent, which really doesn't make that much sense. Two ways to deal with that. One is to go up to the Selection Bleed and let's crank that up to 100, so we are bleeding as much of the deselected area into the selection as possible.

And the other thing you want to do is set another pin. So I am going to click down here at the bottom of the image, and I'll drag inside the ring until my Blur value is 5 pixels. All right, now I'll click OK in order to accept that modification. Wait for the Progress Bar if it comes up. Then what I want you to do, because I actually want the entire background to be slightly blurred, I'll press Ctrl+D or Command+D on a Mac to deselect the image. I'll press Ctrl+Alt+F or Command+Option+F on the Mac in order to bring back up my last settings. This guy remains selected, as you can see there, so I'll just press the Backspace key or the Delete key on a Mac to get rid of it.

Then I'll select this other pin, and I am going to take the Blur value this time down to just 3 pixels. And so in other words, we're heaping one field blur on top of another. This one is very simple. It doesn't have a selection. We're not adding multiple pins. Just click OK in order to apply that final effect. And that's how you take advantage of the Selection Bleed option, available to all three filters included in the Blur Gallery.

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