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The perfect depth-of-field effect

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: The perfect depth-of-field effect

All right gang, you may recall in the previous exercise we went ahead and applied our Depth mask using the Lens Blur Filter, but rather than working from the actual Depth mask, this guy right here the Alpha Channel that's called Depth, I went ahead and applied the Field mask instead which blurs all of the grass in a quite unrealistic way, so that we could independently adjust which portion of the grass is focused and which portion of the grass gets out of focus using a Knockout layer and that's what we are about to do.

The perfect depth-of-field effect

All right gang, you may recall in the previous exercise we went ahead and applied our Depth mask using the Lens Blur Filter, but rather than working from the actual Depth mask, this guy right here the Alpha Channel that's called Depth, I went ahead and applied the Field mask instead which blurs all of the grass in a quite unrealistic way, so that we could independently adjust which portion of the grass is focused and which portion of the grass gets out of focus using a Knockout layer and that's what we are about to do.

So if you are just joining me by the way, I am working inside of an image called Depth mask.psd that's found inside the 12 Specialty folder and it features two layers, one is called the Background layer of course and the other is called Lens blur. I want you to go ahead and click on the Lens blur layer to make sure that it's active. Then I want you to press Ctrl+Alt+N or Command+Option+N on the Mac in order to create a new layer and let's call this one Knockout of course, because we are going to be creating a knockout effect here. Go ahead and click OK and then let's go ahead and grab the Gradient tool once again and just to make sure that we can see our gradient quite independently of the rest of the image, I want you to set the foreground color to something that compliments the image that is to say a color that we are not finding elsewhere inside the image. So blue comes to mind.

I will go ahead and change the Hue value to 210 here inside the Color palette and I will change the Saturation and Brightness values to 100 a piece, so we have got a little bit of a cobalt going and I will go ahead and make sure that my Gradient Style is set to Foreground to Transparent as it is. The Linear option is also turned on at this point, Opacity is set to 100%, Mode is Normal, Reverse is turned off and so on. Now I am going to draw a gradient from this dandy line just like we did a couple of exercises ago. We will draw the gradient from the top of this dandy line up like so and I have got the Shift key down this entire time and then I will release in order to draw a gradient that looks like this. So she looks like she is mired in some weird blue pudding or something along those lines.

Now we will take this Knockout layer and we will turn it into a Knockout, a true Knockout so that it's knocking out the effects of the Lens blur layer below it. Go ahead and double-click somewhere on the Knockout layer in order to bring up the Layer Style dialog box, then I am going to change the Knockout setting to Shallow, just because we want to burrow through one layer down to the background. I will set the Fill Opacity value of course to 0% in order to make not only the layer transparent so that we are not seeing any of that blue gradient, but also we are using the blue gradient to burrow through the layer below it. Then I will click OK in order to apply the effect.

Now you can see that we have indeed burrowed down to the background image. So we are burrowing through the foreground grass toward the bottom of the image. This is without -- I will go ahead and turn off the Knockout layer for a moment. This is without the Knockout layer, you can see the grass toward the bottom of the image is out of focus, this is with the Knockout layer and so it is doing its job, it's knocking out the layer below. But not only that, now we have the option of moving this Knockout layer and deciding exactly which portions of the grass are in focus or out of focus. I will go ahead and grab the Move tool and I will go ahead and drag the gradient layer down so that much of the grass is now out of focus. You can see that this entire big range toward the top of the image is out of focus at this point.

Now I will drag it back up and as I drag by the way I have got the Shift key down so that I am constraining my drag to exactly vertical and as I drag my gradient upward, you can see that less and less of the grass is out of focus. So this was before my move, lots of the grass out of focus toward the top of the image and this is after the move much more of the grass in focus. Now I have revealed this big area toward the bottom of the image that's now out of focus and that's because we have got a gap inside of the Knockout layer itself. I would go ahead and Shift+Tab the palettes away so that I can better see what I am doing. I would get my Marquee tool in order to fix this problem down here and I will drag around this region and I am trying to avoid an auto scroll, but I bet I won't be successful.

Actually I was successful, nice, and because I want this area -- I will go ahead and press Shift+Tab once again so that I can see my Knockout layer. I want this area to be filled with blue. My foreground color is currently set to that same shade of blue. So I will press Alt+Backspace or Option+Delete on the Mac in order to fill that region with color so that we are burrowing a hole through that region to the Background layer. So this gives us total flexible control over exactly which portion of the image is in focus and out of focus. It also gives us a higher degree of control if we want to apply say a blend mode to this effect that we have created here.

Let's say that I want this blur to exclusively lighten the background. Then I would bring up my Layers palette once again and I would go ahead and change the blend mode that's applied to this Lens blur layer, I will change it to Screen so that we are getting this nice lightning effect associated with the Lens blur as well. Now the problem is at this point even though it's just affecting the top grass, it's also affecting the top of her as you can see here, I will go ahead and drag her over a little bit so that you can see this is what the image looked like before I changed the blend mode, this is what it looks like after.

So I am lightning the top of her head and her shoulders and so on. So that means I just need to mask away that Lens blur layer inside of the model. I will do that by going back to the Channels palette. I will go ahead and load the Field layer in order to load that selection that traces around the model right there. I will switch back to the Layers palette. I will click on this little layer mask icon in order to convert the selection to as layer mask, she is once again protected inside of this layer and the grass is affected exclusively.

So you can see now, if I turn off that layer or turn it back on, she doesn't change, her luminance doesn't change, the luminance of the grass changes alone. So there we have it, the final version of the depth of field effect created using a combination of the Depth mask, the Lens Blur filter and a Knockout layer.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26383 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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