Thursday, September 18, 2014

Working With Alpha Channels In PS CS6

As we promised we are back to continue the discussion about the channels, and today we’ll enter in the world of a mighty channel, the alpha channel. Photoshop has one other type of channel: alpha channels. Their job is to store selections so you can use or edit them later. These channels get their name from a process called alpha compositing, which combines a partially transparent image with another image. (Filmmakers use this process to create special effects and fake backdrops.) Information about the shape of the transparent area and the pixels’ level of transparency has to be stored somewhere, and that somewhere is an alpha channel.
This is powerful stuff because the same technology lets you save selections. And, as you’ve know, making selections can take a ton of time. And since clients change their minds occasionally—“Put the model in front of this bush, and change her hair color while you’re at it”—the ability to save selections so you can mess with them later is a lifesaver. As long as you save your document as a Photoshop file (PSD), that alpha channel will always be there for you to use. That ought to make you sleep better at night!
You can drag alpha channels between documents as long as both documents have the same pixel dimensions.
Folks sometimes refer to alpha channels as channel masks because, once you’ve made an alpha channel (as explained in the next section), you can use it to help you adjust certain portions of your image—kind of like when you use a layer mask.
In fact, creating a layer mask by loading an alpha channel as a selection is the most common use for alpha channels. That’s because, as you’ll learn on next steps, you can use channels to make incredibly detailed selections that are tough to get any other way. When you’re in Quick Mask mode, you’re actually working on a temporary alpha channel.
Creating an Alpha Channel
It can be helpful to think of an alpha channel as a grayscale representation of your selection. Unless you change Photoshop’s settings, the black parts of the channel are the unselected portion of your image—also referred to as the protected or masked part—and the white parts are the selection. And, just like in a layer mask,shades of gray represent areas that are only partially selected, which means they’re partially transparent.
Photoshop gives you several different ways to create an alpha channel:
Create a selection and then choose Select>Save Selection. Create a selection and then click the “Save selection as channel” button at the bottom of the Channels panel. It looks like a circle within a square. Click the “Create new channel” button at the bottom of the Channels panel. When you do that, Photoshop creates an alpha channel named Alpha 1 and sticks it at the bottom of the Channels panel. The new channel is solid black because it’s empty. To create a selection, turn on the composite channel’s visibility to summon the red overlay of Quick Mask mode so you can see your image. Then grab the Brush tool (B) and paint the area you want to select white (think of this process as painting a hole through the mask so you can see—and therefore select—what’s below it). Though you can certainly start with an empty alpha channel, it’s usually easier to create your selection (or at least a rough version of it) on the full-color image before adding the alpha channel. In most cases, you’ll find it easier to create a selection first (even if it’s rough) and then add your alpha channel, as shown blow. (That way, you see the full-color image instead of a screen full of black or red.) To do that, select something in your image and then, once you’ve got marching ants, click the “Save selection as channel” button (circled below). Photoshop adds an alpha channel—which includes your selection—to the bottom of the Channels panel.
Choose New Channel from the Channels panel’s menu. When you choose this command, a dialog box opens that lets you name the new channel and tell Photoshop how to display the channel’s info. Straight from the factory, Photoshop shows selected areas (the parts of your image inside the marching ants) in white and unselected areas in black. Partially selected areas, which have soft edges, appear in shades of gray. If you’d rather see your selections in black and everything else in white, turn on the dialog box’s Selected Areas radio button. If you want to edit your alpha channel using Quick Mask mode (as described later in this section), you can change the Quick Mask’s color and opacity here. When you’ve got everything the way you want it, click OK to make Photoshop create your alpha channel.
Editing Alpha Channels
Once you’ve got yourself an alpha channel, you can fine-tune it just like a layer mask  by painting with the Brush tool or using any selection tool. If you use a selection tool, you can choose Edit>Fill and then pick black or white from the Use pop-up menu, depending on whether you want to add to or subtract from your selection (selected areas are white, and everything else is black). If you want to reverse the way Photoshop displays the channel’s info—so that your selection appears in black instead of white—just double-click the alpha channel’s thumbnail in the Channels panel and, in the resulting Channel Options dialog box, turn on the Selected Areas option. When you do, Photoshop flip-flops your mask’s colors, as shown below.
Double-clicking an alpha channel’s thumbnail in the Channels panel summons the dialog box shown below, which lets you tell Photoshop to reverse what the mask color (black) represents. You can also use this dialog box to turn the alpha channel into a spot color or to change the color and opacity of the Quick Mask overlay. To do the latter, click the red color swatch, pick a new color from the resulting Color Picker, and then click OK.
You can also edit your alpha channel using Quick Mask mode. To do that, in the Channels panel, activate the alpha channel and then click the composite channel’s visibility eye, as shown below. When you do, Photoshop puts Quick Mask mode’s signature red overlay atop your image. (If you’re editing an alpha channel in an image with a lot of red in it, you won’t be able to see clear through the mask, so change the overlay color as described  earlier.)
If you activate an alpha channel and then turn on the composite channel’s visibility eye (circled in the image below), you can edit or create a selection from scratch in Quick Mask mode. In this example, the Brush tool (the white circle beneath the dress brim) set to paint with black is being used to fine-tune the masked area around the girls dress. If you mess up and mask too much—by painting with black across part of the dress, thereby subtracting it from your selection, say—press X to flip-flop your color chips and paint across that area with white to add it back to your selection (just like you would with a layer mask).
You can also run filters on an alpha channel, just like you can with a layer mask. Among the most useful are Gaussian Blur for softening the selection’s edge (helpful if you’re trying to select a slightly blurred area) and the Minimum filter for tightening your selection .
Loading an Alpha Channel as a Selection
Once you’re finished editing your alpha channel, you can transform it into a selection so you can actually do something with it. You can summon the marching ants in several ways:
Ctrl-click  the alpha channels thumbnail in the Channels panel. Click the “Load channel as selection” button at the bottom of the Channels panel (it looks like a tiny dotted circle) while you’ve got an alpha channel active. Drag the alpha channel onto the “Load channel as selection” button (let go of your mouse as soon as Photoshop highlights the button). Now you can perform all the amazing color and lighting adjustments, and they’ll affect only the area you’ve selected.
Deleting Alpha Channels
When you’re finished using an alpha channel (or if you want to start over with a new one), you can get rid of it by dragging it onto the Delete button (the little trash can) at the bottom of the Channels panel. Or just click the trash can while the alpha channel is active and then click Yes when Photoshop asks if you’re sure you want to throw it away.
I hope you’ve learned something new and you enjoyed it. Go alpha!

  

Quick HDR effect in Photoshop

In this tutorial we’ll learn how to create a quick HDR effect from just one photo. HDR creates a high impact in photography and even in photomanipulation. HDR stands for HighDynamicRange and are achived  by capturing multiple standard photographs, often using exposure bracketing, and then merging them into an HDR image. In photography, dynamic range is measured in EV differences (known as stops) between the brightest and darkest parts of the image that show detail. An increase of one EV or one stop is a doubling of the amount of light. Some cameras have even build modes to create automatic HDR effect. But enough with the theory let’s get to work.
Stock used: http://furlined.deviantart.com/art/Ratty-394710709

Step 1

First we duplicate the background layer and the go to Filter>Other>High Pass and chose a value between 3.8 and 4.2.

Step 2

Now we change the blending to Vivid Light and Flatten Image. We duplicate again the image and use again the High Pass filter but now with a value between 6.8 and 7.2. After that change the blending to Color and set the opacity between 39-43% and Flatten Image.

Step 3

Duplicate the layer and go to Filter>Blur>Gaussian Blur  and set the radius between 9.4-9.6 pixels. Now we’ll add some noise Filter>Noise>Add Noise and set the amount between 3-5%. Add a mask selecting Layer>Layer Mask>Hide All.

Step 4

Set the foreground color to white and background color to black, then useing a soft brush (B) at 30% opacity and start brushing over the entire image except the car than Flatten Image.

Step 5

Go to Filter>Sharpen >Unsharp Mask and use the values below. Of course you can use diferent value for the Radius depending on how much detail you would like to have.

Step 6

We’ll add now some curves to bring more details and highlights in our picture. Go to Image>Adjustments>Curves. Here you can play with the values you think that fits best your image. Just experiment and have fun.

★ Soft Photo Effects in Photoshop CS6

If you’re a photographer, you like photography or you simply want to edit your photos in a way that nobody does, you will definitely need to know how adjustment layers work and what each blend mode (or at least the most commonly used ones) can do for you.
In this Photoshop video tutorial I will show you how to use a few of the adjustment layers that come with Photoshop and how I used them along with blend modes to get a popular soft looking effect on your Photos.
                                        1. Download source files               2.Download video

★ Abstract Light Strokes – Premium Pack

In this pack you will find 15 high resolution stock images of abstract light effects shapes. The resolution is 4500×2800 pixels. There is also a brushes pack made with Photoshop CS6 with the 15 shapes in brush format.
                                                                      Download Pack

Transparent plants/trees pack

                                                                      Download

Don’t Leave Me – Photoshop Tutorial

Welcome to another Mohsin Editing World tutorial. In this tutorial I will show you how to turn a free stock image into a beautiful manipulation. You will learn how to manipulate light and how to create beautiful realistic shadows. If you followed my other tutorials you will see that this is actually a revision of previously demonstrated techniques

Versión Española

Versión Española

Resources needed

The model is by Faestock from deviantART but the set that contains this particular stock was removed so I uploaded myself here so that you can follow the tutorial. I don’t want to claim any credit for the stock image whatsoever.

Final result preview

Step 1

I’m will go through the first step quick because it’s an easy one. Just open the background image in Photoshop. Then use the Pen Tool (P) and draw a path around the sky. After you’ve made the selection with the Pen Tool, convert the Path into selection and create a Layer Mask to hide the selected sky or delete it. I prefer to mask it because it’s a non-destructive technique.
After you remove the original sky from the background image, open the sky stock using the link at the beginning of the tutorial and paste it on a new layer below the background layer and flip it horizontally. See the preview below. (Don’t worry about that empty space there, it will not be visible.

 

 

Step 2

I made a few subtle changes to the sky to increase the contrast and make the green and blue more visible. As always I used Adjustment Layers to achieve the effect I wanted. These changes are almost irrelevant but I wanted to point it out for you. See the image below.

Step 3

The main secret that makes this manipulation look so nice is the light effects. You will need to shift the lights on the background in order to achieve the same effect. We are going to start working on that right now.
First select the background layer (the one that contains the buildings) and turn it into a Smart Object with the right mouse button on the layers palette. By doing that you make sure you don’t destroy the image and that you will be able to modify the settings of the filters that we are going to apply next.
We want the light to come from the front so we have to create the illusion that the buildings and the road are brighter as they get “closer to the light source” and darker towards the bottom and edges of the image.
Go to Filters>Render>Lighting Effects and apply the light effect as shown in the image below. You will see that a new Smart Filter is created.

Step 4

After applying the lighting filter, use a Color Balance Adjustment Layer as clipping mask to increase the yellows on the same background layer.

Step 5

Still working on the light effects, we are going to make the lights show up even more by using the already discussed Burning Tool technique because the image is too flat.
So, create a new layer, fill it with 50% gray (Edit>Fill) and set its blend mode to Overlay. Than use the Burn Tool and brush over the darker areas of the background. After that use the Dodge Tool and go over the brighter areas.
The objective is to make the center of the mossy road brighter and darken the sides. For a greater detail go over each stone one by one (only the bigger ones). See images below.

Step 6

Moving forward. Time to get the girl on our background. Open the girl stock image and crop it using the Pen Tool (P) as explained on Step 1 when you replaced the sky. Scale down if necessary and place her as shown in the image below.

Step 7

Now we are going cast the girl’s shadow on the alley. Remember that I said that we want the light source in front? Well, that means the shadows are casted on the opposite way. We are going to make the shadow behind the girl because the light comes from ahead.
Duplicate the girl layer, flip it vertically and reduce the lightness to 0 using the Hue/Saturation adjustment. After that, apply a Gaussian Blur of 15px to the dark silhouette of the girl and reduce the opacity to 50%. Position it correctly and there you have the shadow. Use the Distort tool to tilt the shadow and position it better. You can even use the Perspective and Warp Tools for fine tune adjustments.
I explained this technique more more in depth on my Shading and Lighting tutorial as part of the Manipulation Secrets series.

Step 8

I know that masking the hair can drive crazy even the more experienced Photoshop user. That’s why I almost always avoid masking single strands of hair. I will show you my way around this problem.
This is how the hair of the girl looks after cutting it with the Pen Tool when I cropped the image.
That’s not very nice doesn’t it? Let’s see how we can fix this. I prefer to use the Smudge Tool to create the hair back. First use a medium soft brush and about 25% Strength to smudge the sharp edges and make them smoother. After that, increase the Strength to about 90% and use a 1px hard edges brush to make the hair strands. Don’t worry, you can do that without a tablet.
Try to follow the natural flow of the hair using the rest of the hairs as guide. This can be a bit tricky at first but with practice you will get better. This is what I got. I think it looks way better than before.

Step 9

If you’re still here that means you didn’t throw you computer through the window on step 8, great. Let’s move on.
The most difficult part is done, all we have to do now is some adjustments to the girl and create the sun light on her body but first let’s make some color adjustments.
I almost always make slight color adjustments to the elements I add to the scene so that their color fit the background. That’s something I explained on my Manipulation Secrets series Part 2 – Color Matching.
I used a Color Balance Adjustment layer and used the settings shown in the image below.

Step 10

The “structure” of this manipulation is ready. All you have to do now is add the final light effects. The only difference between picture A and B is light effects and some general adjustments. So let’s do that.
The first thing you should do is to recreate the light on the left size of the girl’s body. For that we are going to apply a technique explained on the 2nd part of the Manipulation Secrets Series.
Open the styles window for the girl layer and add an Inner Shadow effect. Use a light yellow color Color Dodge. See image below.
The settings shown in the image above also depend on the size of your canvas. As I said we only want the the light effect on the left side of the girl’s body but because we’ve set a big size value, the light effect is also visible all around her body.
In order to fix that you must turn the inner shadow effect into a layer. You can do that by right clicking the layer on the layers palette and choosing “Create Layer Style“. You may get a warning message, click accept and done.
Now that you have the inner shadow effect on a new layer, create a Clipping Mask for it and use the brush tool to mask unwanted areas.

Step 11

I used the dodge burn technique on the girl’s dress as well because I wanted to darken some areas on her back and lighten some strands of hair. The dodge/burn tool is really a powerful tool.

Step 12

Let’s go with the final touches now. We still need to add more lights but let’s for some general color adjustments. Again I used adjustment layers.
Create a new Gradient Map Adjustment Layer from the layers palette icons or from the menu Layer>New Adjustment Layer>Gradient Map.
Set the Blend Mode to Color, Opacity to 10% and for the gradient use the colors shown below.
Now add a new gradient map or duplicate the first one and change the settings. The settings for this second gradient map are: Blend Mode – Linear Light, Opacity – 10%, and the gradient colors shown below.

Step 13

We are almost done. In order to apply the general lighting filter I had to create a stamp. This is how you do it. Select the top most layer on your palette and press Ctrl+Shift+Alt+E. I know there is a lot of keys but I have no idea if the stamp can be created from the menu, I always made that using the mentioned keyboard shortcut.
Once you press those keys you will see a new layer appears on top of your last layer. we will use that layer to apply the lighting filter on. I turned it into a smart object so that I can modify the filter settings whenever I want but it’s up to you.
Apply the lighting filter from Filter>Render>Lighting Effects applying the settings shown below.

Step 14

The final touch is the sun glare. Create a new layer, get a big soft brush, and stroke once using the color #dca366 and then set the layer’s blend mode to Screen. I called this layer “sun spot”.
Next create a new layer and fill it with pure black. Set the blend mode to screen and the Opacity to 50%. We will use this layer to add a lens flare.
Create the Lens Flare from the menu Filter>Render>Lens Flare. Use the 50-300mm Zoom flare at 100%. Place it somewhere on the top part of the layer where the head of the girl is.
After adding the lens flare you’re done. Hope you enjoyed the tutorial. As always if you like it, you can thank me by sharing it on twitter, facebook, stumble it or whatever network you want. And don’t copy it on other websites.

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