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Viewing a mask with or without its image

From: Photoshop CS6 One-on-One: Advanced

Video: Viewing a mask with or without its image

In this movie, we'll apply some more modifications to the selection outline in the Quick Mask mode, and along the way, I'll show you how to view the Quick Mask along with the image, as we've seen so far, as well as on its own. I have still got my selection outline intact, so I'll press the Q key to enter the Quick Mask mode, and at this point, it's a little bit hard to tell what's going on. I don't really know which areas need to be painted away, and which areas need to stay, so I am going to turn off the RGB image, and view the Quick Mask independently.

Viewing a mask with or without its image

In this movie, we'll apply some more modifications to the selection outline in the Quick Mask mode, and along the way, I'll show you how to view the Quick Mask along with the image, as we've seen so far, as well as on its own. I have still got my selection outline intact, so I'll press the Q key to enter the Quick Mask mode, and at this point, it's a little bit hard to tell what's going on. I don't really know which areas need to be painted away, and which areas need to stay, so I am going to turn off the RGB image, and view the Quick Mask independently.

So if you're working along with me, switch over to the Channels panel, and notice that the Quick Mask is active, as well as visible, whereas the RGB image, and all of its channels are visible, but inactive. To make them invisible, just click on the eyeball in front of RGB, and that will show you your selection outline as a standard black and white mask. So everything that's masked appears black; everything that's unmasked, and therefore selected, appears white. Now, there is also a keyboard shortcut for showing and hiding the full color image, and that's the Tilde key, which is the key just to the left of the 1 key on an American keyboard.

So Tilde shows me the RGB image, and then pressing Tilde again hides the image. Now, at this point, I obviously need to increase the contrast of my mask, and I'm going to do so using the levels command. So I'll press Control+L, or Command+L on the Mac, in order to invoke a static application of Levels. You can't apply adjustment layers to masks inside Photoshop. I'll click in the black point value, and notice that we've got a kind of spike of dark colors over here on the left-hand side of the histogram.

Let's move the black point to the right of those dark colors by pressing Shift+up arrow a couple of times to set the black point value to 20. Next, I'll select my white Eyedropper tool over here on the right-hand side of the dialog box, and I'll click on one of the darker pixels in the cheekbone there in order to make it white. And if you see some gray values hanging in there, then click again to try and see if you can get rid of them. Ultimately, you should come up with a white point value of 160, so that we are clipping all of this stuff away. Now go ahead and click on the OK button in order to increase the contrast of that mask. All right.

That's a pretty big modification, so I am going to go ahead and save my changes as an alpha channel. Another way to save your Quick Mask edits as alpha channels is to go ahead and drag that Quick Mask item at the bottom of the Channels panel, and drop it onto the little page icon, and that will create an unnamed alpha channel. If you want to name the channel as you create it, then press the Alt key, or the Option key on the Mac, and drag Quick Mask, and drop it onto the page icon, and you'll see the Duplicate Channel dialog box. And I'll call this channel Levels enhancement, and then I'll press the Enter key, or the Return key on the Mac, to create that channel.

All right, now I am going to press the Q key to exit the Quick Mask mode, and convert the mask to a selection outline, and because I've already backed up the selection, I'll press Control+D, or Command+D on the Mac, to deselect the image, because I want to show you something else. When you're working inside of an alpha channel, for example, I'll go ahead and click on Levels enhancement to select it, you also have the option of hiding or displaying the full-color image, and once again, you do so by clicking in the eye column in front of RGB, or you can just press the Tilde key. So Tilde will show the image, and then pressing Tilde again will hide it.

Now, what's interesting about this is, each one of the alpha channels has its own overlay color associated with it. For example, if I press on the base selection channel, and then press the Tilde key, you can see that I have a red overlay, and that's because I created this channel before I changed my Quick Mask color, whereas if I click on QM refinement, and then press the Tilde key, you can see that by this point, I had switched to Cyan. And you can assign a different color to each one of your alpha channels. I'll switch to Levels enhancement, and then press the Tilde key.

It appears cyan right now, but if I want to change its color, I just double-click on the thumbnail in order to bring up the Channel Options dialog box, and I click on the color swatch, and let's say I decide to make this color a bright green by dialing in a Hue value of 120 degrees. Then I'll click OK twice in order to apply that modification. And that's how you view any kind of mask, with or without the full-color image, here inside Photoshop.

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This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19097 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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