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Working with "found masks"

From: Photoshop CS4 One-on-One: Advanced

Video: Working with "found masks"

All right, so here we are. We have gone ahead and brushed in a bunch of orange into this image and I've done it in the fairly sloppy fashion and I hope you have too. I hope you have gone ahead and painted over way too much inside of this image. Because that's what I instructed you to do and that's the way this is going to work best. In this next technique that I'm going to show you that's going to restore the fins and the sleeves and all the blue elements back to their original station is so great and so easy. It's a little mysterious in terms of tracking exactly what I'm talking about here, but it's a very easy wonderful successful technique as you will see.

Working with "found masks"

All right, so here we are. We have gone ahead and brushed in a bunch of orange into this image and I've done it in the fairly sloppy fashion and I hope you have too. I hope you have gone ahead and painted over way too much inside of this image. Because that's what I instructed you to do and that's the way this is going to work best. In this next technique that I'm going to show you that's going to restore the fins and the sleeves and all the blue elements back to their original station is so great and so easy. It's a little mysterious in terms of tracking exactly what I'm talking about here, but it's a very easy wonderful successful technique as you will see.

So anyway if you just want to join me, I have gone ahead and save my progress so far as Blobby painting.psd. So called because I have just painted a bunch of blobs all over the place. I haven't done anything remotely resembling an exacting job in my brushing and I don't have to. Now I do want you to see something though. Notice that my cursor is a little Ghostbusters cursor. Even though I'm working on the right layer and everything, I can't brush in it and it's going to tell me, hey, you just clicked and you were trying to brush with the Brush tool right there and you can't do that. If you want to fill this layer you got to rasterize it first. Do you want to rasterize the fill? Do not say OK, do not do that, because that's going to change this from a dynamic solid fill layer to a standard pixel-based layer, so you'll just have a bunch of orange pixels. So just cancel out.

The problem is oh, okay, thank you much. Another error message just to really send it home. This time you are going to have to click OK. What in the world are they doing? Could not use the brush tool because the content of the layer is not directly editable. That's the one that they should have had before in my opinion. That tells you your problem. Actually, that's kind of nice. So they are just doing the job that I'm going to do right now. So you say Cancel and then you say OK. The problem is that the layer mask needs to be active. So you would have to click on the layer mask and then all as well. Because otherwise if you have the solid fill layer itself active, which you get by clicking on it, and this is slightly different behavior than it was in CS3.

I think it's actually better, but anyway, it does allow you to turn the layer mask off if you want to. Then you get the little Ghostbusters, no, can't do icon. Just wants you to notice that. It's actually not an icon; it's a cursor. I am going to turn off this layer so that we are returning to the original image right here. And when I say original of course, the underlying background layer, it's by no means original. We have done so much work to this image. If you want original, then you want this image there. That's the original image. All right, anyway I want to go ahead and turn that layer off, so I can access the blue fins and the blue elements in general. All right, and then you go to the Channels palette right here and take a look at the independent channels and notice we want to see a channel here in the channels palette, Red, Green or Blue. We want to see a channel in which the fins and the sleeve and the mask and all those elements are nice and bright and everything else is dark.

So it ain't the Red channel. Let's just focus on the fins, because they are the biggest blue elements. The fins are pretty much midtones everything around them is midtone. So that's not going to do us any good. Here in the Green channel, they are a little lighter than the background just so ever so slightly, but not always this area of core right here is lighter than the fins actually and then in the Blue channel, my goodness, they are bright. Look at that. We got nice bright fins. We got bright sleeves, we got a bright mask element right there. We got some bright bubbles, which is actually good because we don't want the bubbles going brown either or orange. We want the bubbles to stay blue.

So we are going to use this as a mask and we'll talk about masking in an upcoming chapter, an entire chapter on masking and I've got an entire series on masking here at the lynda.com Online Training Library. But in case you are not familiar with masking, you can turn any channel into a mask. So they are all found masks essentially. Just mask s lying dormant ready to work for you, if you want them to and to change this channel to a selection outline, you press the Ctrl key or the Command key on the Mac and you click on its thumbnail right there. Just Ctrl+Click or Command+ Click on it and that goes ahead and selects all the light elements.

So black gets deselected, white gets totally selected and everything in between gets partially selected. It is basically what it comes down to. So we are selecting the fins, and the tank and the sleeve and the bubbles and the mask plus you know some highlights in the corals. That's okay, because we can always brush those back. Now go back to the RGB image like so, go to the Layers palette, turn on the orange layer right there, so it's active again. Click in its layer mask and I'm going to go ahead and press Ctrl+H or Command+H on the Mac so that we can see this change a little better. Because we won't have the animated selection outlines, marching ants there, distracting us with their marching around. And then I'm going to press, and this is important, just make it checked. Just check that your background color is black, which it is because we want to fill the selection with black.

Go ahead and press the Backspace key. That's all you have to do. Just Backspace or Delete on the Mac and that will fill that selection with black and notice the fins they are back, the sleeve is back, the goggles are back, the bubbles are back. Everybody is back. So this is before, Ctrl+Z, lots of you know sloppy floppy going on there. Command+Z on the Mac of course, and this is after, Ctrl+Z or Command+Z again. Nice looks really good. Now we did lose some orange in the coral here, because we lost the highlights. So what I suggest you do is press Ctrl+D or Command+D to deselect the image and then I'm going to go with a bigger brush by pressing the Right Bracket key a couple times.

Now stay fairly far away from the diver, because you don't want to go painting over the fins or the sleeve or anything else again. And then just paint back some orange here and there inside the coral, anything that you feel like you want to retrieve in the way of highlights, because there were some stuff over here too. Just stay away from the diver for now, actually forever. Just steer clear of him, because we have reinstated his good colors and we don't want to mess him up. Actually, another thing to steer clear of is these bubbles. I just accidentally painted over them and create some orange bubbles, we don't want that. So steer clear of the little micro bubbles up there. And there we have it. That is the effect. This is so great, because notice his bracelet right there actually varies in terms of its colors. So we have sort of a yellow bracelet and we have got an orange bracelet and we have got a bracelet and it just looks so terrifically realistic, and then we have this little note thing that he writes on this plastic. It's got white with yellow highlight and then it's got an orange trap, because I painted some orange on there.

Now one thing I would like to warm up the trunks a little bit. I think they are too cool right here. So what I'm going to do is reduce the size of my brush quite a bit and I'm going to paint over the trunks with white in order to make them warm trunks as you can see right here. And then I'm going to press the X key to make black my foreground color and I'm going to reduce the opacity of my brush to 50% and I'm going to do that just by pressing the 5 key and then I'll paint over those trunks again in order to make them more of a neutral color than they were before. Not quite warm, but they are not quite cool either. They are something in between.

And if I feel like I went a little too far with that, actually 50% might have been too high of a value. I'm going to go ahead and undo that modification. Press the 3 key for 30% and try again. And I'm thinking I like that better. That's good. Either way, it doesn't really matter. All right, so zoom out and take him in and he looks so glorious and so good and so awesome and we are going to finish this up. I just want to make the image look totally great. Just so that by the time we are done, we have blown ourselves away with our unbelievable ability to bring an image back from complete disaster.

We are going to crop it and we are going to sharpen it in just so it looks its very best and if you would like to do that as well, join me in the next exercise.

Show transcript

This video is part of

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

218 video lessons · 23924 viewers

Deke McClelland

Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time

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