Photoshop® Masks and Channels Deep Dives

Lesson 1 of 1

Photoshop® Masks and Channels Deep Dives

 

Photoshop® Masks and Channels Deep Dives

Lesson 1 of 1

Photoshop® Masks and Channels Deep Dives

 

Lesson Info

Photoshop® Masks and Channels Deep Dives

So yeah, we're gonna jump into channels and musk so here's the thing about channels nothing and photo shop since shivers up people spine but the word channels it sounds so intimidating and so scary and people are like what can I do it for the shop? I'll do anything just don't make me use channels so I'm gonna de mystify channels today and mosques and you're actually going to surprise is actually a lot more simple then you think it is so um first thing I need to do is talk about channels he is the thing about channels you've been using them all along you cannot use photo shopped without using channels because photoshopped speaks in channels that's his language so as you probably noticed next to the layers panel which is the most important panel inside of photo shop is the channel's panel and it rhymes now used to be channels palate but I think they changed it to panel so would write um so the channel's panel here's the thing it's always next to lay is why is it there that means it's pro...

bably pretty important I like to look at channels is going under the hood of the car layers is sitting inside the car that's the driver's seat that's when you drive things but you know not necessarily the new cars because in europe in the hood you just see this thing it doesn't even look like an engine anymore and you can't really do work on it but let's talk about a car that you know maybe had a carb aerator and things that you could actually tune and change so when we go under the channel here we're going to pop it open this is actually how photoshopped works this is what really happens fundamentally so right now we're looking at an image this image is an rgb image and it's so cold rgb because it's made of three different colors red, green and blue so let's pop open the panel options here and under the panel options we can make this bigger which is what we're going to do this is that how you change the size there and noah channels the biggest we can see them better so let's have a look at this rgb red, green and blue so if I click on red why is it black or white? Hmm we'll get to that mr in a second green and blue but notices we choose these different ones how the photograph looks different a little clue here notice I put this color bar and here so with this colored bar you can actually see how these different colors is showing so if I select these independently which is clicking red, green or blue you can see this white around that air one with that area is is blue why is it white? Why is it not black? Because there's more blue does not list so why would it become white? Anyone know? Because the paints we're using is light we're painting with light so that means the more light that is present the brightest something becomes so the mohr blew it is the brighter it comes. The absence of blue would be black. So think of it is different from a pigment because we're working with light because we worked on a computer. This is displaying in this particular way. So we got red, green and blue so here's the thing if we click typically you see rg be like this, we can select in any one of these and we see their one channel by itself. If we want to show two channels, we can go down, see that little eye icon you can click the iron curtain next to the other one. So right now we've got to read in a green channel showing and we see when we mix the red and the green together we get somewhat of a color that's too in the blue on his turn off the green, this the absence of green and his absence of red so why is it when I click one is black and white I due to its color there's a dhobi trying to fool us well, actually they are. They're trying to make their life easier. Let me show you something. If you see this little kind of help explain things a little bit better we're going to go under the preferences here. Let's have a look at the way that it shows it. You'll notice under preferences is a presence here. This is show channels in color. So if we turn this on, this is what channels really looked like. So we're going to go back to the top and select the red ah ha! Now it's read now it's green now it's blue so we mix the red and the green together we get this color, we mix the red, green and blue we get the full range of color. So channels actually, fundamentally, how are images that displayed tow us inside of photos up and let's go back to that thing. No way! Why are they showing it to us and read and not red and blue? Why black and white? Because you think about when you look at this it's really kind of hard to tell how much blue is in the seven years because we know that it's white when it's full strength blue in his black when it's not it's very, very hard to tell so that's the reason that photoshopped goes in here and they decided hey did show this in black and white you know what? Wow it's a lot easier to tell how much is there without this bright bright color hitting you in the eye such as makes a little bit easier to work with so that's basically how a channel works is it displays the image now if I was to change this image though and let me just do this right now what I'm gonna do is I'm going to change this to see him like a mode now don't freak out now this four channels that's because the colors now a sigh in magenta yellow and black well let's have a look so is click on the yellow well, hang on a sec look at this the yellow here now it's not white now it's showing as black when we get back into their just click the yellow and when you're working here's the thing for you to bear in mind and I'm just touch on this I'm not going to get to deepen seemed like a don't worry sam like a works the exact opposite of rgb it works pigment base because see m y k is for printing so you might have heard the terms thrown around if you haven't is a term for you today is additive and subtract of colors added of colors is rgb because everything added to get a equals white subtract of colors r c m y k because all the colors taken away equals white and so you know, if you ever want to test that when you take color you remember the experiment. Maybe you did it in your your school I remember as a kid we did this experiment took this little took a pan and we took a piece of paper and we painted different colors and spun it in the first two respondent all those colors mixed together and they became white so light is the opposite of pigments all light mixed together becomes becomes white whereas, you know pigments all the pigments makes to get a pains become black, they become darker, so that's basically you've got to think that way. So if you are in c m y que mode curves and things like that, they work the opposite they do in rgb mode. Now let me just talk one more about seeing like a seem like a sigh in magenta, yellow and black or the cake and also be called key you don't actually need it if I turn off the black the colors are actually there will show all the true colors without the black, but what the black does is it just fills it in and gives it you know, the depth and they in a lot of the luminosity we'll be in that black so I just kind of boost it makes things look better so if you're printing not I'm not talking about to your absence or your canon printer you should always stay in rgb for that late the printed do the conversion if you're sitting to an offset purse if you're designing a print designer or a photographer who's making postcards of whatever and you're sending them off to be printed on a commercial printing press where they have really think and paper runs and things stamp it down then you're using see I'm like a if you're not doing that then forget it even exists you have no business using it and listen to in print so now that we've done that we can go back and where an rgb let's continue to talk a little bit more about the channels. What I've done here is just set this up so we can kind of see things happening I've got two layers I've got a kind of a map thing going here and I put a grey scale on their black to white and on here I put a layer of the top just with some colors and you can kind of use those for references so you can just sort of see things that are happening in the background but what I want to do is I want to get back to another channel because so far maybe this is all right, you're like, ok, I get this this is fine. But what about that weird thing? That strange thing when I hit this button and it creates this thing called an alfa eternal, what the heck is an alfa general? Okay, so an alfa channel let's talk about that and alfa channel it is not show is just basically a place to store selections that's it that's it it's those solutions, you can have multiple out of apple outfit channels, and if I turned it off, a channel on earth is going to show you read but here's the thing, if I'll put this image I printed or anything that red is not going to show all it is, is basically for us to make selections. So let me show you five ways to, you know, make a selection here, and, uh, let's just make this election around her face here, and I'm going to go up under the menu up here, and I'm going to say, you know what? Under the select menu, I'm going toe choose to save a selection, and I'm gonna call the selection thinking, so just click here and notices his new channel, click ok, wa la, it created a new channel so I can actually turn off the selection here and there it is. There's, another alfa channel. But I named it thinking, and all it did is it saved their selection. Now stay with me because this is actually gonna make sense. All of this is going to come together and really help you understand masks in a way, maybe you haven't before. So with its with this outfit channel citation what before photoshopped three, which, of course, I was two years old at the time, you know? Uh, yeah. She's laughing she's oh, yeah, right. And so, yeah, ok, I'm not I'm not twenty, so but when I was using photos up two point five, we didn't have layers. Can you imagine working as I print design, which was what I was doing at the time when I was a professional print designer designing magazine covers on one layer. Try that. So you see how you like it and people complain foot herself so hard these days. Oh, put too many menus in. Well, you know, I love every one of those menus. They make life easy. So what did we do? You probably heard the term channel chops or channel operations. Um, channel tubbs was basically we used to do everything with channels, so what we would do is we would prepare everything and then save them all those channels and when we went to stick it together it's difficult puzzle with layers we would do this masterful selection thing and paint and holding down keys at the same time and selecting channels emerging them together and intersecting channels in order to do things that you would now doing layers that's how we did drop set us is how we did devils that's ever did things like that then all of a sudden the skies opened a beam of light came down in adobe dropped in photoshopped three and layers appeared for the whole world to enjoy and people cheered and of course other people said oh no lose their too hard so layers changed everything but ok so what came with layers? What came with layers was something called layer mosques so before we get to lay a musk this continue with these channel things so we've got the channel's hidden notice once again it doesn't matter if these air turned on or off it's not going to affect the image they're not doing anything right now but if I have this channel turned on and I had the command t and I click on the channel notice that that loads their selection because there's selection is always saved inside that channel so let me turn it off the other way you can do is ugo select and we can choose to load selection so we can we got alfa one or thinking so we're going to choose to open thing and now we've opened it so you can see that it was a way to save selections and you can still save your selections. That's it that's what are now for channels? So once you've made the selections, obviously you can do things that I mean, if we go into the layer here and we had come on, jay, and then just a copy that copies that, and then we hide it. Um, I probably did the wrong well, that was weird ahead the wrong layers like that, I'm sure let's do. Come on, j again. There we go. And what we did is we just use that selection to cut out their part of the photograph. So there's a photograph before and there it is. Cut out. Okay, but that's not very exciting. That's. Not very revolutionary at all. I mean, I could do that with pumps. Why? Why would I want to have channels? What use the channel's? Well, he is the thing that makes channels really great. Is it's not just a way to do a selection? It's a way to do a soft of solution has also a way to paint with a selection, you can't do that with thea. The marquis tools when you could actually go in, grab a brush here and you can paint these selections, I can feather them. I can do them with different opacity. Zay can do different things. So, aiken two semi transparent selections that we grab gray I'm gonna paint with a semi transparent selection over here. The other thing we could do to comply filters to so we can choose a filter weaken blur this that was using the gaussian blur the thousand blur or whatever you want to call it and we can soften it. We can do things like that once again pick command to select turn on their things go back to our layer here it is and it's a come on, jay. And what do we get this time? We've got this. He has a simi whose turn it off here there's a semi transparent selections because we were able to grab these selections from there see that now it's soft so we have the ability to do things with a channel as faras this election like you could not trying to attorneys semi transparent selection of any one of these tools. Good luck, you know, it gets like that shape, but I can't do it okay, so that's one of the things he can do there with these channels so let me just dump this come on d I'm just undoing my selection all I'm doing what I'm hitting all these keyboards focus all I'm doing is I'm just reverting back to where it was before all right? So we've got these channels so that's kind of cool but doesn't that kind of remind you of something when I'm doing that let me through these channels away and I'm going to show you something really interesting because that this feels really familiar to me this feels a lot like a layer must doesn't it won't look in the channel saying what's what happens when I create a landmark scares my layer we create him us oh my gosh a channel appeared when I created a lamb mosque how did that happen? All right, I'm going to break it to you right now I'm going to give to you simple this is how difficult and how confusing channels are they are exactly the same as a lay a mosque if you understand a lay a musk you understand a channel they do exactly the same thing so what that's it I don't need to teach you any more about alfa channels what we're going to do is we're gonna jump in and we're going to learn more about leia mosques and realize that everything you know about lana musk applies to channels there we go so confusing gone don't be afraid of channels um there's a couple of things that they can do that you cannot do in layers I later mosques and that is just basically because of certain filters that khun coal things inside of channels that don't necessarily reference leia mosques so sometimes the selection you you will save you would go to save it in a must you can save it is a channel instead and as you can see it's actually very easy to convert a lay a master channel so you know, it's kind of it's kind of interesting stuff were and he and we decide to mosque this and I decide to start painting this out I had the ex key here and I start painting this out and we get the channel so we can see it down there in the channel see how we're painting there the musk and the channel look exactly the same, you know, man, if I wanted, I could duplicate and I could save it, so even when I ditch this mosque is the leader, I still get my channel, so see how you can actually copy your selections between masks and channels? Did you catch that? Let me do that again because I probably did that a little quick I created a mosque painted on my musk because if I click away, this is what happens when I click away from that layer with the musk noticed that leia must doesn't show on the channel so temporary but if I want to make it permanent, I can just drag it duplicated click away and that duplicated one is always going to stay there as the alfa channel now you're going to need to do this probably not but it's good to know because now you really can start to get a grasp of how channels and layers really work and interact okay, so the other good thing about it let's get rid of here and I'm just going to fill this with white because it's not destructive and I haven't destroyed anything in my photograph because you imagine the opposite he is the opposite of using a mosque there I'm just going to delete that's right away is to grab the e for evil e for a race a toe and like what's start painting away this what if you want to bring that bag you can't outside of undoing so if you close the document, don't get what you just did the equivalent of grabbing your photograph, getting appearances and just don't that's basically what you're doing with your race a toll so don't worry I'm not going to get make it will stand and take a anti a race a pull to pledge or anything like that, you know, put your hands up your heart I will not use the original don't we won't do that so let's talk a little bit about mosques then let's get a better understanding of how mosques where it because apparently these things are quite important before I do let me just show you a couple of the graphics here that are made up I'm just going to show you briefly when we talk about the channels when we get the image he has a red green and blue it's like shining that light together and then it creates the image you can kind of see that imagine if we had three different projectors and we're projecting that color, then we get a full image and this is how they stack on top of each other the channel stacked together to create the image and once again you can see here he is the red, green and blue channels and is that composite so the composite is actually what we call upon all the channels have turned on so that's the composite channel which would be rgb at the very top or cia might a if we were that way inclined. So let's look at the mosque I'm gonna actually open a couple of things here, so we're about to do something that I don't do very often but it's a very, very easy thing I'm going to give you a formula in a second so he would get just gonna twirl that down a little bit close it down because you kind of know what's happening there so here's our layers will get two layers on top of got the top in about um I guess that's my little illustration probably makes a very self explanatory so what we're gonna do is we're gonna play the layer musk so there's two ways we're playing a mask if you just click and apply the mask it does nothing let me make the biggest you can see we're going to get back to our panel options it's making big there we go you can see better um and basically what happens is when we do why we put a white mosque on there it's doing nothing it's just completely transparent it's not affecting that layer is not doing anything at all let me delete that by drawing into the trash can and all I'm doing is just reverting back to where it was now the other option is if you want to create a mosque that hides everything on that layer then it's the opposite is black so what we're gonna do is we're gonna hit the option key and create a black a mosque and now everything is hidden. Now let me show you something that you do you know what you're doing to give you a little trick a trap to avoid is museum we get a saying, you know, I don't know if they say the u k who say is it is a trap for young players yeah so basically a lot of fear that means if you're an experience you're going to fall into this trap so I'm gonna envoy I'm going to help people that may be a newer to photo shop not fall into this trap and this is what we do and I did it for years is create a new mask and it's I awesome source I've got a white mask is this great life is good oh you know what maybe I wantto hide this now so I'm going to say I'm going to hit the option team fill it with black yeah dude I got it I know musk's I've got it under you know it's working great now it's hiding if I turn the months going off yet totally read yeah I got it I'm trying to be something california there in case you didn't know um and then what happens if if you're any graphic designers here you know if you have any graphic design and one of the things I found working a designer is that things started growing like I'd start there and then suddenly had one of make my doctor besides a little bigger or you know even a photography you know one of compositing you know things suddenly get a little bigger one a little space you know you could do it old school you could do it new school which is grabbing the crop toll and weaken crop it make it bigger yeah, that's cool so we can crop that we can make a bigger so that's really neat, you know, um, but he is what happens is you start moving stuff around and let me just unlinked us and start getting these we had edges of you've seen that you get these weird ages because what happened is that mosque is the same size of that document because you took that document and you fill that documents posed with black. So guess what? As soon as you choose that mask and you move it, you basically got a black square on top of a white mosque you do not have a blank, musk. So what if I didn't do this and we'll go all the way back again? I'm going to delete this and this time I'm getting is I'll just delete that he would go back again. I'm going to hit the option key and create the most with the option key a black mask, a true black mask. Now, if we decide to change the size of this document and I move this mosque around, guess what that must fills the whole documents I'm leaving drag is what it's hidden that blue but is not appearing now because we have a troop like my step light goes for infinity, so you're not going to get that we adage so having said that let's go back again one more thing I'm going to show you so if I just choose to create a white mosque and then I decided one of black must don't fill it because you saw what happened you feel it hey come on dai inverted no it's black for infinity so you know that honestly I wish I'd known that years ago because I would do these posters and things and then I suddenly see these little lines and kind of on those lines and painting out the mosques on the lines because I didn't invert my mask I filled it with black I thought it was the same thing but it's not because here's the thing about photo shop you have a workable area this is your workable area right here so we have to stand up this is a workable area this is your canvas but photoshopped in store things and do things off the canvas so that's why some touching when you crop and you get a non destructive crop it's because you've got things and here just because you can't see it doesn't mean it's not there so for the shop you know introduce elections outside the area you can do a lot of things that just bear in mind what you see is not all you get is a lot more of photoshopped in that another little tip really once again this is a useful tip if you have a document it's getting like really massive because everything outside of the edge there is counting to your file size and your ram is coming to a grinding halt or you've got mrs d and you could only afford a one hundred twenty eight digg sst in its full on every time you try to save the file it won't let you because this is your driver's full go and buy a new one but you're like a kind of fourteen you want what you do is if it come on a select everything and then choose image crop and it will get rid of all that stuff around the outside and reduce your file size so that's kind of like what you need to do if you want to bail out in an emergency okay, so back to mosques let's talk about masks I'm going to go back again and I'm just going to create a basic white musk and then I'm going to show you what I want to show you about the mosque so select the layer you would apply them us to click on the mask icon and now you have a mask so yes before when you were adding the mask before you're saying show all or hide all this is that the same concept of when you add a mask as in yes, yes in fact what you're talking about when you add the master of the menus is you can show and hide yes I was actually showing exactly the same thing he said I just I don't go to the menus very often that yes I mean you masks show well or mask hide show is a white mask which is a normal mask and in hyde is the black mask so same thing is actually just a lark we get a hit the option key and click the mask here and a little later a hidden mask so it's good I'm glad you clarified that because you know people might get a little confused so let's talk about painting on the mask now because you know this is really what we're gonna be doing a lot with masks so I'm gonna grab my brush you can grab any burst you want I'm just gonna grab a soft age brush um and by the way that's something I was due to when I open a menu and I grabbed my brush I always just kind of tap on the interface and it hides the brush panel um and that way you know because you do want to step on the doctor because we'll be drawing so it's kind of like I always do that instinctively and I probably should tell people I do that because they're always ask me how did you close up, eh? So what we're going to do here is we got white is obviously is hiding everything black is going tio I'm sorry white is not doing anything black is going to hide it so if you can see here if I hide the layer underneath what we're doing when we paint with black is it allows that underneath to show through so here's the formula is going to give you here is quite simple really when working in mosques the shade of gray from one to one hundred is directly proportional to the amount of transparency meaning one hundred percent of paige is a hundred percent black zero percent black zero percent of page one hundred percent transparent fifty percent gray fifty percent black twenty five percent great twenty five percent transparent doesn't it kind of makes sense so whatever level of gray you got that will give you the transparency so if you want to paint with fifty percent transparency because you don't want to change the capacity here because that'll mess up everything else because that's a beautiful thing about this we can do this at the same time so if I want fifty percent gray you know I'm gonna ask because I'm not gonna live two months because he probably knows I mean this guy sits a photoshopped classes all day you must know everything I do know everything yes I thought so traffic really you know, I've worked with clients that are really annoying me like did you give me thirty percent ten on this how would you do that in this case of matching fifty percent isn't half of two fifty five or so you would know what is half of two fifty five where's two fifty five one twenty one twenty seven in the heart of anything okay, that is good see the problem there and then you're correct but the problem is that us stuck in rgb land there's different ways of viewing the color values when we opened the color it was a trick question by the way um no no really you could have done so there's different modes here like as you know we're working rgb mode here we could also work and see him why k mode there's another mode called leiby which is luminant same b and is another one hsb hughes saturation and was it rightness? So how do you think you get fifty percent great let's let's try to get brightness uh come forward. So half of so fifty percent brightness of fifty fifty this exactly exactly. So be here is brightness if I want fifty percent gray I know I put you on the spot but but now you will you know no one will ever forget that. So if you want fifty percent gray or thirty percent gray or whatever you go into the b value click there and now you have a brush was this exactly fifty percent great? But because we're working on mosques it's also fifty percent transparent so we're getting exactly half transparency on there right now. Yeah. So what's the difference between just turning down the opacity on the brush to fifty percent good question I turned capacity there because I want this fifty percent this is what's gonna happen if I drop my capacity don't oh, oh it's missing up everything else because guess why this here is a different value of transparency than here. So that's why? I wouldn't be fifty percent because if I do fifty percent transparent and then I paint with black what if I want to do something darker? You can't capacity of the brush though at the top oh, you could do that. Yeah, yeah that's it that's another option. Okay, sorry. Yes, yes, you could definitely change the a pass ity of the brush, that is definitely another option. Yes, um, so but of course, a lot of the time I like to work in the in the color pictures on the reason for that is because sometimes you want to turn on person sensitivity for your brush. And when you're working with your brush, sometimes you get a really very your your pressure, which is what I'm going to say right now so it's very up in pressure we're going turn on capacity is open a precious panel and if we go down here under the o capacity here we're going to turn on transfer capacity is pin pressure so that means now when I press harder let's go back to aa solid black the d six key so I'm going to drop my brush size down so if I press really hard on here using my wacom tablet I give a very transparent thing if I go lighter I get less and the good thing about this is now aiken gently bland in these edges see how it could just be building that up using precious sensitivity you could do this with your mouse if you say your mouse to part of me to a very low a pass it e and then just keep going but it's a lot easier to use pam pressure okay so this is the thing no I mean look at what we're doing here could you imagine trying to do this with selections? You know you just kind of do this with selections so this is why musk they're so powerful because we can vary the amount of transparency so I'm going to show you some tips now back on the mosque if I had the shift key I can turn the mask on and off if I had the option key I can show the mosque on the panel you can see the layers of gray there the gray is directly proportional to transparency option on and off there's other things you can do that if I used the backslash key, I'm overlaying the mosque right now over the image. You can actually see it. So it looks like what? Like a channel? Because once again the mask is a channel, remember? So we're able to show it and see how I'm forward slashing at all it's doing is turning this eye icon on enough here, inside a channels panel that's all that's doing so it's. Another thing just be where when you're working in the channels always click rgb again. Here, grab your composite. So when you go back, you have your your layers working properly. So that's, really what I wanted to show you is just to understand that that's the basics. Really? If you start to understand that you know the black and white in the different levels, you understand mosques, that is exactly how musk's work. So we're going to kind of jump on to do more with them in a second. But does anyone have any questions that anyone lost at this point? Or is everyone tracking? Yeah, can we use gradient for letterman's? Yes, you can. And a great is a great way of blending two together and we'll actually have that plan so I think you still might notes that you so actually I'll show you right now it's a great way of creating a really nice smooth blend between two layers is doing the black toe white radiant so that goes and you can change as much as you want he can change the angles that's it's wonderful and of course if you wanted to go from what if we wanted to go from twenty percent capacity two and I clicked the background there eighty percent of passes so this is an area where you couldn't really do it with, um transparency you'd have to do it with the things that were going from eighty to twenty and notice no, we can control that by changing the level of grayscale so you can have it exactly what you wanted to be uh doing it so that that's that's that's the basics of how our um must work out how do you change the ah radiant in damascus it can you hold the shift key or can you hold and drag on the how did they change the past city on the what I did to change the a pass it e the christmas how did I change the a pass ity on my grady in what I did is I changed the burst colors so I selected the foreground color and notice under the brightness twenty percent and then what I did is I grabbed the background color, but I didn't click there click their top of the background and I said that to eighty so that means I'm going to go from eighty to twenty percent transparency because I'm painting now with my grady in't is my grady and uses the foreground background colors because that's what I've got it set to the first option he is foreground background so that way I can actually control the transparency by changing gray, so if I paint with gray, I'm going to get some transparency first is painting with blank or white and getting solid a pet city or transparency so that's really key when it comes to working here with these with these masks so it's this look is something a little bit more practical than this top and bottom image I'm sure you're sick of looking at that by now you're like, ok dude, that was exciting move on all right, so let's move on let's do this picture here. So here we have a picture of a mere made in a shark and we have this right now it doesn't look too bad looks pretty pretty good, pretty safe, so he is a wonderful thing we can do is that we create a mosque here and this is just very basic just to show you how we can blame these two get us. I just had the control d or command d um, to get all this reset, so we're just gonna reset everything right there. There we go. And now what we're going to do is we're gonna create a little bland in here, let's, create the bland from here to there and notice now we started to blend that side and so it's looking like it's starting to blend, so he is a great thing about using the mosque years. I could grab a brush now and I can mix and match the grady ints with the brush, so I've started with a great ian, I'm going to grab a black burse, which is the excuse it black is the foreground color bring it up and we just kind of paint around the edges, so this is like the really, really basic. This is the most basic concepts of compositing or collision, and what I'm doing is I'm just painting it out and notice as I'm doing that I'm hiding that layer, and I'm just kind of blending it and letting the shark come too, so the other thing you can do is go over here where the, uh, the other areas are like, maybe want this table to go over the top so we could paint over the tail and if I go too far had the ex key go back and I can pay back the other way so you can see that's kind of the one of the great advantages about working with this where's we're using a razor co you till you can't really go backs and forwards like I am right now that's it the ex key and paid it back there see that so we can kind of start to colors and you can paint back in certain best if you want the thing to go out over the front which would turn it into a miniature shark that wouldn't be so scary anymore you could go this way so that's that's the basics so we're good at moscow's have look again option key there's a mask we've been painting hit the shift key to hide it there's a layer over the top of the other layer so practically that's how you would start to use those masks. So when you're blaming images together, I always want to be using those layer masks that's definite way to work on us so let's have a look at other options with the mosques I want to talk about the mosques panel because there's this options for the most of what I'm going to do is I'm just going to quickly musk out some of this so let's grab a mosque and we're gonna grab a black first one we grabbed this election versus quicks like tool and I'm just going to go around here I'm going with shifty and I'm just gonna sites around here quickly and so we're just basically during around these windows and doors I went too far this fine we'll go back had the option key here and we can just kind of clean up this election there and go down the middle there, so let me get that again I'm very, uh being very particular here even though we really don't need to because I just want to make this selection for the sake of illustration so now we've got this election we could if we choose safe selection would become a channel, but we don't need to do that we can just fill it into the masters and gonna hit option back space fills with the foreground color and I'm just hitting it off. So what did I do? I just feel that area with black so the four grand color was blacks I had the selection optioned the lead fills that air of black on the mosque and it cuts those areas out as you can see they're surprised its command I I could invent that mask so what's happening now is the areas that were black and white and it's allowing your other areas through seeking tennessee how that works so it kind of looks like the there are death con right there s oh let's have a look at other things we can do let's open up the mosque panel used to be called the marsh panel before photo shops ius six now it in finish up cc it's no incorporated inside a property's panel quick way to open it double click on the mosque and is that properties panel and a property's panel has all these things now that used to be had to know the mickey mouse club handshake to do certain things with masks you right you know if you wanted to feather the edge of a moscow let me show you what we select the mosque here um let me get one hundred percent and let me just invert that quickly so you could see the edge if we wanted to soften the edge of a mosque would go in here which is filter blur and we grabbed across geum blur and we'd soften edge of the must buy blurring it blurring the mask that crisis soft age selection don't need to do that anymore we have a feather option the feather option here does the same thing now the feather option is even better because it's not set in stone you could go back you can change it later so if you want to soften the ages of your mosques and its helical shape, what happens here grab a mask and look what happens it's feathering him ask see that softening the edges and sometimes you want to do that so that's what that option does let's go look at another option? Another option we have here is invert so I've been hitting command I and control I all the time you can actually hit the enver key and do exactly the same so that's inverting the mask so that swapping it so the areas that was selected or hidden and now the areas that is showing in areas that were showing you know him since you can reverse the way it works, the other thing is density. What we used to do is if we wanted to blend the two layers together, we wanted to moscow the area but you wanted the other is must, but not quite as much. We used to go in here, we used to grab the curves or or levels tolin and we'd start leaving these sliders around, turning the grays the blacks into grade and we get out here, we change these, you know, we start to notice that starts to diminish a little bit there we go and we changed it here and allow more so now what we're doing is we're creating a gray in here say that but now you don't need to do that either you can choose density and this is what density does the reason I'm showing you the old school way is because you can understand what these sliders are actually doing so what we're doing is really doing a boot camp on how these mosques work right now but don't worry in a second we're going to get into some practical things but I really want you to just get a grasp of of how these function yeah when you were sliding the feather is is that how different is the feather versus like say anti alias around the edges? I don't like different things if you don't find the feather on this election will it be anti alias star was just auntie alias ing and um feathering a completely different things I mean it will give you a similar effect because it's kind of softening the effect but basically what we're doing is we're doing the same as you would do a select feather when you make a selection you know when you go into the federal pe'shon select wherever it is up here feather but what we're anti alien seems completely different thing anti alias and what that does is it gets rid of the jag ease by um estimating the colors around the areas where the colors meet each other it actually analyzes the colors around and then build into media colors to make edges appear smooth this I get sort of jag ease on diagonal line says actually in different thing than fitted selections like initially when you are making this selection, if you're using the tool, the wand or selection tool, when you make your selection and then you make the mask, is it anti releasing the mask itself for not only black and white and really bring typically happens when two things are in the same layer? Um, or or you're working with vectors? You trying incorporate a shop victor object into their, um, I mean, you could substitute the word anti anything for feathering, but it wouldn't be correct, but you could, but any alison is a little bit different, you know? Because when you work with, you know, type, like the different anti a listing settings and stuff like that all is trying to do is take a sharp edge that is basically creating jobs has actually been in the video game industry, and when I started doing computer graphics and the big problem is, you know, when they wanted to do visual effects and movies, they looked really good, but ahead, those jagged edges and they couldn't get rid of the jagged edges, so they increased the resolution and the jagged edges was still there, and then I discovered that no matter of resolution will get rid of them. So what there's and said then what they did is they started to soften knows it is to give the appearance of softening, which would which is basically a anti alien, singing so it's a slightly different thing. It does technically looked the same, but it is different desert me says to you so feathering I would use the term feathery initially when you made this election off the picture to select the inside of the train. When you use the magic wand, I used the quick selection ok, same thing because they both have the anti elise lottum has the anti who is one of them, doesn't I don't use the tragic want you see tragic wanna okay, so usually because it is old school and it does create jaggi ages, the the quick select versus does create better wages then, eh? So maybe that's probably where we tripped up because there is the option up here? Um, it doesn't look like they're having on turning this one doesn't have because it doesn't need it because it's much more intense because the other one works on a pixel basis and it just goes there and grabs the individual little pixels and it has the likes moving them where is the brush here is just a lot more intelligent, and it has different levels of transparency that it can support so I can create you know, semi transparent selections using the quicks electoral so it does create a much better edge which the fact it doesn't need anti a leasing button is a good reason why you should use it all right? So where were we all the different things that I must yet we just looked at the mosques panel and different things that we can do and the properties panel used we called the masks panel before photos up see a six including photos up statistics I'm going to show you one of the thing now when we can actually start to put this together and I'm gonna grab these here and I'm going to open them I'm just opening two images right now we're gonna take this image and I'm just going to drop it on top of here now this is not necessarily the way I would make a selection but I just want to make you aware that this option is in here inside of instead of photo shop using the mosques so we get the mosque in the double click and I'm gonna grab our mosque here so here we are working on a lay a musk I could actually use it to extract this area but we really need it because we just said there and we paint when we painted out we extract things here so what we're going to do is we're going to choose the color range option and I'm gonna choose the inverted option on top of the lay a mask so what we've done is we've just opened up the lair musk under the mask panel we've chosen color range and so this is on a mosque works very much the same as a color range that you use in finish up proper so I've grabbed this and I'm going to grab the little plus tool and I'm going to click and I'm gonna add these areas and notices I'm doing this it's just quickly getting rid of those areas for me and the cool thing about it's not perfect I mean, I'm just going to this really quick just to kind of show you, but the great thing about it is I cannot just clean that up right there in that same us grab my black bush and just paint back what do the other other way clinics and we will there we go just paint back those areas that we overdid and look at that so we're able to just fairly quickly um delete the background on areas of working on why we're inside the mosque so there were tools there that can help you do that and once again this is an option I guess not many people say cleaning up over here now many people use this I don't know why they don't because I think it's really useful and it's quick and that is key a lot of the time is quick so I'm just pointing that out so I'm able to mix that mask with whatever I'm doing here and there we go she is sitting on top of the car actually looks really bad there but you could must get up you get the idea so that's another thing you can do inside their leia mosques so let me undo this now and we get a move on so I think you kind of I kind of get the idea like with the mosques right there just really really useful so let's backtrack just one second here I'm going to do something different and we're going to talk about channels again because we've been talking about masks and it's like, well how can channels be useful okay is something that I found is really interesting is something I just kind of came across one because sometimes I uh confess him in some yet and sometimes I'm liable in bed while I should be sleeping and I think about what ifs what if I do this? What if this and if something occurred to me is like whenever we're like retouching faces if somebody wants to take a face and they soften it, why do they go in and I have to moscow the eyes and paint everything back because doesn't every skin tone in this no one world have read is the base color well yeah, it does so I thought about this and I was like this will this work and yeah it does so what I'm going to do is I'm going to head the commodity and I'm going to click on the right channel and so what I've done right now as I've selected the red now the question is, you know, did I select the radio device like the other part if you don't know what you know what we do but if you don't know you just hit the brush and this is an easy way to find out this way well it paint if it's painting on the white and those other areas that means those areas of selected so let's invert there so it should come on shift I know what the heck was that? It was interesting um you try that again I've got some really weird things going on my short cuts you know what I'm going to do I am going to reset my keyboard shortcuts that's really, really weird I shall get in my different work space because if I do that um okay let's try this again uh there we go. All right, so now we've got this and we've got a layer here and selected and I can paint in there so yep, the reddest selected awesome so what has done is selected the red parts of I had come on jay and we go up when we have a look at that we can see you pretty much got those those red parts in every channel I'm just gonna go back I'm just going back all the way to go and do it again to show you I'm going to go to the channel, I'm gonna have to come on, keep for select click on red and now I've selected the red but it is inverse, so we're gonna inverse it command shift ifa inverse and now we're gonna come on, jay and now we're gonna copy it and now we can hit come on j again a couple more times and noticed that I was starting to bring in all the red areas. Um, yes, actually, you can sometimes work better and when people have got, like, different colored closing his clothing and stuff like that, you can really see it happening. But what were essentially doing is selecting a ll these red areas, let me grab a different photograph and I'll show you again. It's fine, a different one here just to see if it works on a different person. Let's, grab her. She looks very different. Very different photograph here, so what we're gonna do is we're gonna do the same thing channel hit the come on t grabbed the red oh, go back to the layer come on, shift I and copy it and, um you know what? I don't think I was supposed to reverse it. Come on, let me undo it again back to the red channel command select on the red and that's compacter layer uh that's better like I should not have been boosted my apologies so there we go. We've got the red notices picked up all the red from her skin tone and her eyes are not even there if I want a ticket, come on, j aiken double it on what have essentially done is without making any selections have basically made a mosque of whose skin without, you know, really getting because normally these other areas and selected the eyebrows and the eyes you normally going in there people are picking those out after they blur them, so fine merge these together and I'm going to put them on the top. I've got them sitting on top now and is separated from the rest of the image. So if I choose the filter blur and I just want to do a little girls and blur maybe I want to do in effect here, you know, obviously here we got glamour shots really you've seen stuff like have you seen stuff like this on on magazine covers? It's just like I'm like one of these people doing but notice I didn't have to moscow the eyes so eventually exaggerating this that you can see lips preserved clothings preserved isa preserved eyebrows a preserved all it's doing is suffering who facing here which I got no problem with that so using that channel let's bring it down to something a little bit more nice not quite so crazy just give it a little soft touch there and maybe you could threaten to overlay mode maybe if you want to give it a you know interesting effect if you kind of play around with different things you know there but the essence of what we were doing is this better back in tow nets to a soft light I kind of like stuff light a lot of the time and I will go in there and we'll increase it there you can kind of see before and after quite subtle but see how we were able to go in and just select the skin tones only by going into the channels command clicking and selecting only the red channel so no selections were needed for the lips and I guess what you can also that means that you can do skin retouching actions because you can actually action that that red channel and it's repeatable so that's another little thing that I would I would do here's another thing we're gonna do channels let's go something really crazy on this I'm gonna bring in this photograph which is just horrible see how horrible that photograph is um you know why it's I I'll tell you what's horrible um I was on a trip in china and I was shooting with film and something I didn't know that I found out later when you get a tourist but in some places in china what they do is they take the expired film that by very cheap and in a stamp in you expiration date on it and then they sell it to you so this film that ever shooting had a pretty new expiration date but who knows how long would it wass and because of that I lost I mean everything I mean that's just it awful looking photograph so you know we couldn't save that in camera roll I mean we're we're we're in big trouble so when you want to do like severe surgery to a photograph what we can do is we can do a different mode and we go under image mode and we're going to change to lead mode or leiby mode notice that changes their channel so was in channels again but now instead of having an rg brcm why k we have three channels here we had lightness we have that a channel which is two of the colors and the beach and which is the other to mix them together and basically you can see this is the color information that is available inside this photograph not a lot this is the luminosity value of the photograph, so what it enables us to do is it enables us to adjust the color and enables us to adjust the limits or the grayscale separately. So what I'm going to do here is I'm going to go in and we're gonna play a curve so I'm just gonna because I'm working in a channel I'm obviously not going to be able to apply adjustment lays so that's a good reason why adobe didn't take the adjustments out of the media but wonder why the menu has adjustments when they're like you can do it one adjustment lives, but you kind of play adjustment layer to channel because we're actually working a channel, so we're gonna go here we're gonna image adjustments going to grab the curves here and look at this big gap in history, graham let's just take that to the bottom give it a little body same thing here is at a little saturation of not saturation, adding a little bit of contrast, and so I'm just kind of playing around with that and we're adding some contrast here and you know, so if we look at this before and after, you can kind of see that, so I'm gonna click ok, so if we were to look at the image now, you can see that the colors haven't come back yet but we're both back to contrast with given it a little bit more body s so the next thing we're going to do is we're going to get into the a channel I'm going to keep everything else selected notice everything else is visible so what I'm doing is I'm merely selecting it by clicking on its icon and now I'm gonna work on a different channel while keeping the other channels visible because I want to see what's going on so I'm gonna open up curves again I'm going to use a keyboard shortcut which has come on in the mountains because curves are very mountainous and then I'm gonna grab these corners I'm going to drag him into these corner points there so I've kind of done that with the color it looks pretty bad right now but that's okay and I'm just gonna play that I could have actually changed it in the curves panelist go back to the curves I could actually go between lax I couldn't know forget it I'm going to go in here and I'm gonna drink this in and I'm going to drag this in and what I'm doing at this point is I'm actually really forcing these colors to really come out and so we can tweak it a little bit and just get these exactly how we want no one a little bit blue there you can kind of play around and give them a lot better so I mean if you look at this I mean yes it's not perfect we could go on and we could do maybe guarantee camera rolling now and just tweak the color a little bit and get it back but if you look at what we started with what we were able to recover out of, there is pretty crazy this is what we started with let me come in here again and we're gonna bring this back in I'm going to actually have done do it let me say this as a one all right? So I'm going to show you the two side by side when it opens there we go so you can see how washed out that is and you know what we've been able to bring back? I mean, you could always steel color and player of color get the color better because obviously I still need to tweet there and we could do that by going into the curves here and just kind of tweaking these curves a little bit then we go until we get the color or I'd see that because what we're doing is we're doing a color correction in here inside the a and b channel see that it's what occurred that viruses that you know it's quite significant, so if we were able to do that with a really horrible photo what if we actually start off with good photo? Maybe this would be a good technique and we're obviously going to do that I've got a photograph down here that I wanted to work with, it is under the lead mode folder and this breaking bringing up in this photograph so he is a photo and this is a central california down by the ocean so what we're going to do now is we're going to do the same thing I'm going to show you a different way, but just when you go into the image mode and we're going to go into the l a b color so we're going from the rgb into the lab so we're working in channels now so I'm going to start with that a channel I'm going to eat everything on so we can see everything and we're gonna just this is open up the curves and this time we're gonna be a little more subtle but see how you can start to really bring up that extra colors and stuff in these rocks and we're just gonna be a little more subtle now we're gonna go to the beach and do exactly the same thing and see the nice result we're getting uh we're gonna push it even more and if I want to go back, go back to the a channel again, I'm going to give this a little bit more tweeting and we're getting there nice and I might tweak it slightly here and if you want to know about curves tomorrow morning I'm doing class all on curves will talk about it all all the curve stuff and you can see here now if we want to sharpen this you know maybe one applies scharping just to hear and not the colors we can choose filters sharpen and so what I'm doing right now as I am sharpening only the luminant see this it's not shopping the color is not changing the color it'll and so we can really bring that detail and if I want to give it maybe get back to curves again maybe give it a little more contrast so if we look at that they would go and at this point we could get back to our g b and look at the amount of detail and contrast it come out in the photograph so if we go up here well it's kind of crazy let's go out a little bit but you can see you know how much detail has really been bought out of this this photo by getting it in l a b mode or lead mode would editing say we're doing a retouch or for a re fix for a really, really old photo with the work if you scanned a photo or does it have to put this on ly purely work if it was actually a file um well, the other one we were working on was a scan photo the last one that we did that was from a skype the expired films actually scanned it and you know so it doesn't have to be a digital file once you scan it becomes a digital file and will separate the l a b from each other so it's a really really because if you look at the rocks here, let me do the files say it as and I'll show you the, um the difference here because I find it really good it's not something I use all the time but it's something I might use a bit when I have um you know, stuff like this which is really hard to bring the color out and so you'll see that there was a little bit of a moray going on there but they're more it was actually the original shot to but if you look in the rocks here you can see you know, it's very hard to bring that settle color out, but we were able to do it by using their lab mode because we were able to punch out those colors without I'm destroying the luminosity because sometimes it's hard to have to do that and you can see the flowers there, you know how that how they're looking compared to the other one so it's it's a very it's a very cool technique obviously not for every photo, but it really is works well, all right, let's have a look at something else that I know people are always asking about is how to get better hair selections once again we're going to use the same the same thing he has a shot here, and if we look at this close up, you can see it is pretty good, but you can see these little fringing and stuff around the hair, the of these little bits of bits of white stuff around here, so it's not like a perfect selection on the hair so way want to clean that up and now, as far as making the original station, I just use the quick, quick select toward that so what we want to do is we want to clean this up a little bit, so what we're going to do is we're going to use the mosques, we're going to create a mosque, so what we've done right now is we created a lay a musk and this is the technical term for this is choking. What we're gonna do is we're gonna choke these edges and get rid of that little straight white in those little straight things behind her there, and if this was on a dark of background, you would really see it much more like I'll say here see that see how those ages it just that those are not good, they might look good on a lot of background double click open up our options toll here, properties. I'm going to drag it up to this side, and what we're going to do here is we're going to do the mosque edge, so we're going to click on musket jj, and what this is basically doing is the equivalent of working on the refining age without having to make this election first because we're doing it directly from the mask is remember a moscow really is a selection it's a paint herbal selection, which is a safe selection, so what I'm going to do is get a feather and a little bit, so I've got something to work with just give a little bit of a feather, and then I'm just going to take shifted, jj and bring it down a little bit, and we're just gonna be settle here and maybe feather a little bit more and that's exciting. Absolutely nothing is happening. Just cancel out of here and make sure you know what I should have done make this election first. I was working on a blank mask, so we're gonna hit option and we're gonna to the let me think, yes, come on, d command, I there, we get it. So now what I've done is I've just basically got the mask, I apologize if god's created musk, I was just working on a blank mask so that we go, so now we're gonna go back, we can hit the mass kids now a little work give it a little bit of a feather here, see that's already started to do that and shift the age and slightly click ok? And now it's cleaned up those agency that so if we do this before and off to see him so that's, quite subtle, you can kind of see there so that's a good way of doing it on. So a lot of the time when I make the selections, though, I won't try to get that here like perfect the first time, because if I'd selected all, I tried to get her all in one go on, and I tried to fix that. Then some of the sharp ages would get soft and they wouldn't look good, so usually when I extract extract at once doing extraction, then I go back and and I clean up the hair afterwards, so there was pretty easy to women to show you how did that again, let me do it again, because I know it kind of delete that I'm just gonna hit come on x to load the selection and this time we're gonna have the option mosque and is a mask I keep doing it the wrong way come on die so here we go so we've got the selected it showing the rest the masks hidden we're going to choose musk edge feather shifted jj and click ok and then you cleaned up the edges of the hair just like that before and after such as a few little operations and you can do that let's go on to something else. We're in the homestretch now and you know what I'm going to do? I think I'll be fine I'm going to kind of put a lot of what I've just shown you together and I'm going to do something that I like to cold masking impossible images because you know, we'd be masking against white and it's like you know that okay that's not really that hard. So what we've got here I mean, you know, this is this is hired, right? So we've got a lady here she's got a feather headdress on some of the feathers here very similar colored the background backgrounds, not even its and over here, the backgrounds completely different, so I mean what you say you think this is you know this areas and he is is a challenge definitely challenged, all right, so let's see if we can do this. So what we get to do is we're going to make this selection and we're going to use the tools that we have been looking at, plus one additional told that I'm going to make a lot of use of and it's really going to bring everything to get it, because this toll that we're going to use is quick mosque, how many of you have used the quick mosque? The quick musk is the bridge between a channel and a mosque. It's actually brings the two together and you'll see. So what we're gonna do is we're gonna choose select let me drop this on delete the did you notice that hit the icon there? And it converts from a background too late. That's ah, a new a new feature for get out shed a couple of times is kind of cool. All right, so what we're gonna do is we're going to do this select on, we're going to do coloring, we're going to start with our select color range so the color range basically words you select a color here and you can see there that it's kind of selected, then we can use the fuzziness to select similar areas notices, we're increasing this some of these areas up here and now getting picked up notice that if I get too far then it doesn't look good so I'm going to select it about there because we're getting a lot of the pinks up there but I'm also going to grab the plus tool and I can grab the light of pink in the dark of pinks of what I've done is have added to that selection you can kind of see now if you want to know if I've got the right thing here we can get here we can choose gray scale and we can look at it up here and we can choose image here so now we've got the image here we get the big one this we can see what's going on and maybe I don't like that I'm going to take the fuzziness down a little bit and see how it's it works nice to work on this nice big area and uh we're gonna go back to none and we're going to see our image that's looking pretty cool I'm gonna click ok so what we've done right now is we've made a selection there we've selected around here but did we go too far? Did we not go too far so I want to be able to create a must but I'm not quite ready to commit to that musket I'm kind of feeling quite known committal I'm going to drag out the channel so you can see what's going on so I'm going to grab a defective mosque which is the quick mascot the cuchi and the cuchi what it does notice here in the off a channel see that it creates an alfa channel there that's what it does and if I had the cuchi again it goes back to a selection and the alfa channel disappears once again quick musk see it there and the channels now it's gone so what does a quick last do it toggles between a mosque and a selection selection masks election mask so the cool thing about that is that means that I can paint on there and I can change things but I get a little bit of a problem because the red there I mean he had pretty lips anyway but now they're really red um the red is hard to see because you know the mosque quick moscow's uses red is the color so that's it's hard to tell so we can change that we double click on the musk and we get the quick master options and if I click here and let's change it to another color like say nice glowing bright green and an I q again now my quick mask is showing green and I can say hey, I've got stuff on her lips they shouldn't be there and now we could begin toe work on here like you would any mosque we're just going to grab the uh what painting here if I paint with white, look at that gets rid of where that selection is, so I can I should go up here and now I'm just refining my selection by painting here with white with and then if I hit the cuchi again, goes back to this election and notice now my selection is not selecting those areas because I removed them from my mosque, so is actually able to clean up my mosque by using the quick mask so that's, really good way of, you know, cleaning up your selection? Sorry if I hit the selection here cool, I got the thing I want, so what we're going to do now is we're going to start to hide some of the background this we want to get this just kind of moscow get rid of it, but what I'm going to do is I'm just going to get come on j for now, and I'm gonna copy this tin you layer, and the reason I did this is because I don't want to try and extract this all in one go, I'm going to have to goes at it because there's two different colors there and that's that's, a really epiphany for people in photo shop sometimes gets what you don't have to do everything in one hit. You can come at it two or three times and do it that way so we got rid of this side's looking pretty cool let's get rid of the other side I'm going to go into this select and I'm going to grab the color range and now we're gonna grab on these areas of the color range and grab the little plus toll here and clicking there and in there and in there and now play around the fuzziness for this sitting looks a little different there click ok at the queue for the quick musk and once again we can see the areas where we over selected but we can also do other things because if you look in here, you'll notice that this particular channel here let me show you this channel there's little bits and here see these little bits where is half selected another bits words have not selected we want to clean it up and we can clean it up too by using levels. If we have the levels inside this mosque and we increase the size here, this will actually clean up some of those areas that will get rid of them and we get it this way it will clean it up so what we're actually doing is we're actually going in here and we're talking about but yes, exactly that's what we're doing so we're in the office channel see that on off, so select that alpha channel, turn off the other channels, command l and weaken choke this mask out. She had changes that there were cleaning it up a little bit, getting rid of all those little loose individual pixels. And I'm going to go back to q again and once again, we're just gonna paint out these bigger areas now that we don't want this pain told us up. You know, we could probably use a selection tool if we wanted to to paint this we can actually even over in this election, we could actually grabbed a selection and create a selection with in this election, if you know what I mean, so we could get there and we could fill that to get rid of it. We could fill it with white see that so we can kind of safe time says kind of interesting, so using a quick mask in a channel will actually be able to create a selection with in this election. I mean, it's pretty crazy. So we're going in here. We're kind of cleaning this up and it's stunning look pretty good, and I'm gonna hit the ex key because I want to paint it black because I want to get rid of these areas here because I know they don't belong. So we just kind so we can kind of go in, and obviously, you know, you can go and really close, and you can get as crazy as you want, and really, I spent a lot of time trying to get this absolutely perfect. One thing I always do here is make sure it's a hard edged brush when making these kind of selections, so you get a nice height, age ten off the a passage because I want this full strength, and I'm just going in here claiming that opposite that thing, a little manual work, and we're two hundred percent so that's why it looks kind of pixel because we're at double its actual size, there's a hundred percent there, so now we've done that, we can have the queue again, goes back to the selection, and of course, we can always do the mosque and just create a lay a mosque, which will hide that stuff behind us. And, you know, if we wanted, we could go, and we could do to refine ege and all that kind of stuff, but more or less, what we've done here is we have let's open up something that looks kind of interesting that's open up this thing here, we've extracted her for and all her feathers and actually have a background behind her, so you know, not not an easy and you know these ages here I'm not going to go in but I would remove those ages those french is exactly the same way as I showed you when you did the hair just going to the mass panel and then just use the mask edge hit the feather and you can just like really get in and make that perfect so that's basically how you extract an image that would be almost impossible it's not impossible where it looks impossible to extract ah one thing that you can use channels for I'm just going to show this really quick there's another area I like to use channels for, which is for illustrations so I don't know if a lot of you are aware of this but some of the things I've done in photo shop is creating one hundred percent illustrations so this I did quite a while ago and this was illustrated one hundred percent of photo shop so there's no photos is no three d there's no third party plug ins this is just a blank canvas um and basically creating illustration work and so you know, this is the first one of these types I did and I was very fortunate guru aboard a photo shop for this and then, you know did other ones this one here is one hundred percent of photo shop, no photos or anything and I'm using channels for creating the dimension in here see like the background like three d and s because I'm using channels for this same with this is one hundred percent created and photos show um you know this one here was something I was sitting next to someone when I was working at an agency and I could not stand in music she was playing and it kind of inspired me to make this and these are just you know, one hundred percent photoshopped illustrations once again just from a blank canvas um I have more of that on my side to a photoshopped cafe to common people want to see more of my illustration work but let me tell you a little bit because I know I've got like two minutes I'm just going to show you exactly how you would do this kind of stuff this is the basis of what I would do I would create a channel make a selection I'm going to fill it with white come on dee dee select and what I'm gonna do is just choose a filter blur um and what the blur does is this is how we used to create before layer styles we create dimension and this actually works really well because the other cool thing about this is that creating this kind of ages I can also use grady ints and I can create shapes that you just cannot create with layer styles so basically, do that, and then make sure we go inside a channel here. And really, it'll just happens with the fellas from fifty percent gray. And this just happens with the lighting effects filter. So if you choose filter, render a lighting effects and ah that's good on their filter render. So what we can do is this is one of the things I was telling you about. You know, the channels here that you can do different things with them on the texture you can choose thie alfa channel and let me increase this light here. Uh, let me china is a different type of light. This is the lighting of fixes. Just do an infinite light here. And what was interesting, just kind of moving around here, and we're gonna play around from mattel inc and a loss here and a color let's, go back to here, changed the height and notice here as I changed the height. Now that's my channel let me choose a different type of light because that which it kind of gets in the way it makes it look kind of weird issues of just a point. Like, there we go and you can see there there's actually creating a three dimensional shape. Out of the channel so where I blew it it actually creates a three dimensional kind of a shape so you know, when I created the things that we can put color and all these kind of things in there but when I did the the guitar and the camera knows other images this is how I started actually created the shapes and then I painted the shapes into the channel went into the lighting effects and in a able to create this kind of three dimensional punched out kind of a look here and uh and that's basically you know another thing you can do and the reason I'm showing you this is because they would go there you get a kind of little pill shaped there because you can use the channels as a storage place for other filters. Other filters like the lens blur filter also uses alford channels content aware scale uses alfa channels there's many of these tools if you have a look and I have options for textures and stuff and you click and it shows alfa that means if you create an alfa channel or you even make insulation and save it is an alfa channel it can affect different filters in different ways and you could do different things with them. So anyway that was channels and uh and mosques I know is some pretty heavy going because it's a very um intimidating subject and photo shop but it's definitely well worth letting it fascinating women jim is something of an expert on photo shop I'm very, very new to it but I just I'm amazed by what we can do in fact calling my we're talking little bitterly about the break of what you can do with photography now and you know, even a nametag like me can really produce fantastic photos thanks to photo shop it's incredible yeah and I love how you busted out with the chops that's a really old school. So really good stuff. Do you have any questions from our students before we start to wrap for today anything they think the poor people have been sitting here all day and he's really uncomfortable chairs we do feed them well but we make them sit in these absolutely talk to chairs but thank you for being here today appreciate it way go okay what's the difference between clipping mask on slayer mask like the difference between a clipping mosque and a lamb or sleeping the background? Um well, a clipping mosque is where you actually use the layer is the shape and I can I can demonstrate that really quick so if I go here and I create uh this layer and what I'll do when I cut this out, I'll show I mean it's going to create an oval here on dh and this is actually what I would do with this to use it to is once you cut it out then it actually looks more three dimensional as you can see there and I could handle trump said on here we're gonna get teo you know, I think I just feel like I just need to give it just a little drop shadow there that is not a top shadow there we go I don't like this out of glows they're horrible ok? So we've got to shape here and the reason I did that just you can see it's floating on the surface there and see how once you cut ted these out then they really look through dimensional, eh? So what I'm going to do is upbringing I didn't bring my picture of my guitar in here so this is a clipping mosque clipping musk is when you have two layers and one layer has transparency and then you use the transparency of that layer to control another layer so I take that one on top of it hold the option t and in click and what it does is it places this one inside the other one so now I can move this around and it's going to constrain inside there now let me show you because I think I have half a second to show you where this would really be useful is when people do stuff like this and I can while I'm doing this, I could even take another question I don't mind so what I've done is open a bunch of photographs here and I've created a photoshopped template so you can actually take these pitches and you can use them for reusable templates so what I've done and I'm just really going to do one because I get so many things open here so much for doing that quite right too many windows open all right, so let me close that one down come on, let's get there, all right? So I've created a template and all these templates are layers were squares on them see that's I've just put shapes inside there and so what I've done is I'm just going to drag it in here, release it and is a photograph, and if I clipped that photograph to each one of these now I can create reusable templates don't worry, I'm not selling any templates, but you can create reusable layout here by simply using the clipping masks to clip the photographs inside those shapes so that's kind of like the difference with instead of the mosque working to the transparency, the entire layer controls the transparency thank you so much. Well, you guys were at the end of our day we want to thank you guys so much for joining us today for photo shop week we're just day three, lots more to come. Of course, we want to think colin and julian cost, who will be back tomorrow to teach video in photo shop, so calling me, of course, we're always getting great comments from the chat rooms. I just wantto regent couple christiane, twitter says, loving all the advance photoshopped techniques there. Definitely not enough around the web. We definitely pride ourselves here, creative life for producing some of the best free content out there. T I robbins on twitter learned a lot. This hashtag photoshopped week, a creative, live, awesome and kevin f l a, says colin, I just started shooting in raw, and I have to say, you have gone above and beyond what I expected. Thank you for your time and sharing your knowledge, and you do you bring that every time, so I want to thank you myself is, well, thanks.

Class Description

Unleash the power of Layer Masks and Channels. This is where you unlock the true power of Photoshop®. Here is where we separate you from the competition. First of all, a foundation will be laid that will enable you to clearly understand how these tools work for yourself. You will learn new and fast ways of working under the hood of Photoshop®. This session will get you comfortable using the most powerful tools in Photoshop®. You're not going to just learn to use these tools, you will discover workflows you never thought of and love the secret shortcuts and tips that will put you ahead of the pack. This is your key to understanding what's really going on and it will open a window to you that will allow you to work smarter, faster and with much better quality. These are the tools used for compositing and collaging.


Software Used: Adobe Photoshop CC 14.2

Reviews

Glenys Morgan
 

I love Colin's dry sense of humour and it makes his courses more interesting than simply giving a lecture. Colin has years of experience and knows the information he's teaching. He's right that channels are intimidating and you have to make up your mind that you're completely open to learning about the more challenging aspects of Photoshop. And, if you think this subject could be of value to you and your work in photo editing, then buy it. A once over, even three times over, isn't enough. My approach is the go with the live (or re-run) and decide if I should incorporate it into my work, watch the free presentation as much as I can, decide if I want to learn and practice and buy it. No one can learn everything they need to know in a one-day video class. Hands-on practice, being able to pause it, practice, go back, try again and do that for many days so you can make it automatic. Don't get frustrated, take in little bits, even if it's only 10 minutes with a little practice. That's my approach. These "short courses" that are only an hour or an hour and a half, have an incredible amount of information in them. They aren't easy but they're gold.

a Creativelive Student