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

The fantastical "world of clones" effect


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: The fantastical "world of clones" effect

Okay, so here I am back inside the Adobe Bridge and I have got the Bridge trained on the Jumpers sub-folder inside the 11 layer masks folder, that's inside your Exercise Files folder, and you may recall that we have got Jumpers 1 through 4 which are those photos we used to create the Tumult At the Aviary band poster. But I have also got, you may notice here, I have got Jumpers 5 through 8, and basically, what's going on here is I have the gang move around a little bit. I put Paavo in front, as just as you can see there, and then, I put Megan in front, and then, I put Jehf in front with his Dasto t-shirt, and I have got another one with Paavo in front at this point. Now, this is the problem with Paavo.
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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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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
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

The fantastical "world of clones" effect

Okay, so here I am back inside the Adobe Bridge and I have got the Bridge trained on the Jumpers sub-folder inside the 11 layer masks folder, that's inside your Exercise Files folder, and you may recall that we have got Jumpers 1 through 4 which are those photos we used to create the Tumult At the Aviary band poster. But I have also got, you may notice here, I have got Jumpers 5 through 8, and basically, what's going on here is I have the gang move around a little bit. I put Paavo in front, as just as you can see there, and then, I put Megan in front, and then, I put Jehf in front with his Dasto t-shirt, and I have got another one with Paavo in front at this point. Now, this is the problem with Paavo.

Finally, I told Paavo, stop jumping, just pretend you are jumping, just lift your arms up, and act like you are jumping, just a little bit of back story for you. What we want to do is we want to combine these images in order to create a composition that's just filled with Megan of course. So I want you to click on Jumpers 5, and Shift+Click on Jumpers 8 in order to select the range of images from 5 through 8, and I also want you to add Jumpers 3 by Ctrl+Clicking on it or Command+ Clicking on the Jumpers 3 file on the Mac, so that we should have five images selected in all, because these are the best views of Megan.

Basically, this is the best version of Megan over here on the right, this one is the best version of Megan over here on the left, then, this is the best middle version of Megan, the best distant version of Megan is down here I believe. And then, this one, Jumpers 8, we will use to fill in some details, because Paavo and Megan are really close together inside of the file. At least, they are visually close together. And then, go ahead and press Ctrl+O, or Command+O on the Mac, in order to open all of the images inside the Photoshop. Now I have gone ahead and saved some time by opening the images in advance, of course. So again, we have got Jumpers 3 as well as 5, 6, 7, and 8.

Now I want you to go to the File menu, choose the Scripts command and choose this command right there, Load Files into Stack, in order to load all of these opened files into a single image, into a single composition. Click on the Add Open Files button in order to add all those files to the list, and then, I want you to turn-on this checkbox, Attempt to Automatically Align Source Images. That way, Photoshop will go ahead and combine the images into a single composition and auto-align them in one step essentially, actually it's multiple steps, but at least, it's automatically in charge of those steps, thanks to the fact that we employed a script. And you can see there it is, it's going ahead and aligning those images, and it went ahead and put them inside of a single composition.

All right, now I am going to switch to the Maximize View here, and I am going to zoom in on the image just a little bit. Now we need to put these layers in a proper order, and here is what I want you to do. I am going to put the Jumpers 6 image at the bottom of the stack because it's our main image. As you will see, if we go ahead and turn-off the others, that's where Megan is most prominent, she is right there in front. And then, in front of that, I want you to put Jumpers 5, so goes 6, then 5, and then 8, that's fine and then 3, and then 7. That's going to be the best way to approach this specific project.

Now I want you to turn-on the Jumpers 5 image right there. Go ahead and click on it to make it active. So you should be seeing Jumpers 5 and 6 like so, they are the only ones that are turned- on. And I want you to Alt+Click or Option+Click on the layer mask icon here at the bottom of the Layers palette in order to create a layer mask that's filled with black. Now this is the good version of Megan over here on the left hand side of the image. So I am going to zoom in a little bit. I am going to grab my Paint Brush tool. I am going to make the Paint Brush a little bigger. I am going to swap my foreground, background colors, so that the foreground color is white.

Let's go ahead and paint Megan in now on the left hand side of the image, and everything is aligned, so we should be able to paint her in just fine, but notice what we run into here, we are running into Paavo's arm, because I told him not to jump in and just raise his arm. His arms are all the way over here on the left hand side of the image. It's just not his fault, its bad direction on my part, but it is something that we can eventually take care. I will go ahead and press the X key, and I will paint some of that arm away, but then, if I paint too much of it away, then I get his other arm, that's poking as if these are two sort of distant bodied Paavo arms that we have going now.

All right, so let's just try to minimize it as much as we can. If we can, that is this, oh, look at that, I am just making a mess of everything at this point. Ain't I? All right, let's press the X key and see. Can I paint that away? Oh, I see, I got to press X again in order to paint that black but then, I start painting in his foot. All right, so I am going to leave it like that, though we are going to have two distant bodied arms. That's just fine because in addition to that, I will just go ahead and paint in a little of Megan's shadow here, so that we can see that shadow that goes with her left body over here.

We have got Jumpers 8, and the nice thing about Jumpers 8, if I display that layer; notice that it has a big bunch of sand, the twin Paavo because he is so high because he has jumped in through the roof there. We have some exposed sand, and see weed and rock between the two people that we can work from. So I am going to ahead and click on that layer, and Alt+Click or Option+Click on the layer mask icon in order to add a black layer mask, and now let's paint white once again to paint away the arms. And paint carefully so you don't paint away her feet. I don't want to get rid of those.

And notice I am using a fairly hard brush, I am still using that brush that has a hardness of 75%, that I said a few exercises ago now. All right, so we were able to paint away bad Paavo and keep good Megan. It's not that Paavo is always bad but, you know, what I am talking about. All right, let's now insert this Megan over here, the good Megan on the right hand side of the image. I will click on Jumpers 3 in order to make it active, it's also visible of course. Alt+Click or Option+Click on the layer mask icon in order to add a black layer mask, and then start painting in Megan. So it's the same old, same old stuff, not that it isn't just totally thrilling because after all, it is absolutely totally thrilling.

Then, I am just going to keep painting here in order to paint in some surf, paint in her shadow, and in this case, notice that if I got the circle too far, I am going to notice that the wet portion of the sand goes well into this other area of the image. So I am going to make my brush softer by pressing Shift+Left Bracket a few times, then I am going to press the X key to paint in Black, and I am going to paint some of this area away, so that we have something of a fairly natural transition of this water going into the sand over there.

And now I'll just click a few more times here in order to create a little bit of a rounded edge and let's go and press the X key to paint in some more of this image right there. And I found that it was easy as to paint Paavo back into the scene a little bit, paint away Jehf and paint in Paavo, so that we create a better transition. And notice that we have a little bit of an issue which is despite the fact that I applied Auto-Align, when I combine these images together, the horizon line is not consistent across the images.

In fact, she is a little low over here too, and so what you might find helpful is to go ahead and click on one of these offending images. For example, I am going to click in the second to bottom layer here, the one that contains the left version of Megan, and then just press something like Ctrl+Up arrow, in order to nudge her up, just a hair or a bit, just a little bit there. You might get a little bit of misalignment in the rocks, but that's going to be a lot less noticeable than misalignment in the horizon over there. Let's go ahead and select this layer, the second to the top layer, and I am going to press Ctrl+Up arrow several times in a row, in order to raise that horizon line, so we get this effect right here. So things are looking pretty good as it seems to me.

Now I am going to turn-on the top layer and I am going to click on it to make it active. I am going to Alt+Click or Option+Click in the layer mask icon to add a black mask, and then, with that layer mask active, I am going to paint in the final Megan right there. And she has got a little bit of light water that's surrounding her, that's fine so I will just take it easy with a very soft brush. Then I might press the X key and paint back in some of the sky, just a little bit but notice I paint in Paavo's head at this point, so just go ahead and click a few times in order to paint that head away. So this image is a little bit lighter but it's not bothering me too much. I am going to press Ctrl+Up arrow to raise it a pixel, so that we get that consistent, if possible a consistent horizon line, but actually I think it look better where it was.

All right, so there we have it. This is all the Megans, that anyone would care to add to a single image I think. Now I am going to grab my Crop tool in order to just to generalize crop, so we don't see all these weird edge around the image and I am going to drag around, like so, in order to crop away the transparent stuff. Now in this case, I am sort of having in a problem with the snapping. So I am going to go ahead and turn snapping off by going up to the View menu and choosing the Snap command to turn it off like so. And now I can move these edges with a little more freedom so that they are not snapping to strange arbitrary points inside of the composition. Move it over to here, looks good, press the Enter or Return key. I presume that the Height option is still on, and this is the final version of my composition. I am going to press the F key a couple of times, or I have already hit my palettes. It looks good, your results may vary but you should see, before you have even working along with me, you should see before you -- that it's completely fantastical, impossible composition.

The result once again of marrying together multiple group shots using the Auto-Align function inside Photoshop CS3 and layer masking.

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