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Hey gang! This is Deke McClelland.

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Welcome to Deke's Techniques.

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This week we're going to take this woman here who you may recall from such

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movies as "Blending a texture onto a face" and "Rendering a face as a cave painting"

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and we're going to select our shadows and highlights independently and then

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merge her against this background.

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Now, this is a great demonstration of some quick and dirty masking techniques

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inside of Photoshop, plus as an added bonus

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I'll show you how to use a Color Range command, not only to generate a selection

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outline, but also to directly generate a layer mask.

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Here, let me show you how it works.

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In this movie, I'm going to show you a quick and dirty way that happens to work

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great for isolating highlights and shadows in a person's face for example, and

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then merging those details with an underlying image.

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And in our case what we're going to do is we're going to take this portrait shot

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from Jason Stead, and we're going to merge the highlights and shadows into the

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sand dune background from Vladimir Wrangel--both with the Fotolia Image Library--

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and we're going to end up achieving this effect right here with the dunes

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cutting through her eyes, as you can see.

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So it's almost as if a bright highlight as being cast on to her eyes, and then we

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have these dunes over here on the left-hand side.

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We also have this wonderful interaction, in my opinion anyway, of highlights and

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shadows over here on the right side of the image.

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So we're getting some very dark, lustrous details.

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And that's a function of having two different layers, one of which is set to

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Highlights, the other set to Shadows, with different layer masks applied that

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we'll be creating using the Color Range command.

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So let's get to it.

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I'm going to switch over to my original image here.

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I'm going to go ahead and turn on this Portrait layer, and I'm going to rename

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it Highlights because that's the purpose it will serve.

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Then I'll press Ctrl+Alt+J or Command+Option+J on the Mac to bring up the New

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Layer dialog box, and I'll call this new layer Shadows and then click OK in order

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to jump the image to a new layer.

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Now I'm going to turn off the Shadows layer. Click back on Highlights.

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Let's go ahead and isolate some of those highlights using the Color Range command.

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So I'll go up to the Select menu and choose Color Range, and that brings up this

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Color Range dialog box right here.

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Now by default, this the way you should see things.

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You should have Selection turned on like so, and then the Selection Preview

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option should be set to None so that you're seeing the full-color image out

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here in the background.

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Now the first thing I'm going to do is click somewhere on her cheek in order

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to lift the key color--that is, a color upon which the entire selection will be based.

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Now, you can see that I'm selecting some of those bright colors in the skin

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region here inside of this inset mask. And wherever the mask appears black,

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that's where the image will be deselected.

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Because we're going to convert this selection to a layer mask, wherever we're

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seeing white will reveal the layer, wherever we see black will conceal the layer.

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I want to go ahead and open up this mask a little bit,

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so I'm going to increase the Fuzziness value. And notice as I do, I'm expanding

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the area that gets selected inside the image.

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So in my case, I'm going to take that Fuzziness value up to 90 luminance levels,

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so the selection is drifting away from that key color, 90 luminance levels

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brighter, 90 luminance levels darker as well. And it's tapering across that

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region of luminous level,

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so we're getting that nice organic natural transition.

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Now, I'll click OK.

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Make sure your Invert check box is turned off, by the way, and then click OK in

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order to generate a selection outline.

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Now to convert that selection outline to a layer mask, drop down to the bottom of

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the Layers panel and click on the Add Layer Mask icon. And now we've managed to

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mask some of the brighter highlights inside the image.

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Notice I didn't get the whites of the eyes entirely, because I wanted to dim

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them away just a little bit.

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The great thing about Color Range is you don't have to keep all of the

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brightest highlights or all of the darkest shadows; you can choose some

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highlights or shadows in between.

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Now, because I want to merge these highlights with the background and keep them

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nice and bright, I'm going to go up to the Blend mode pop-up menu, and I'm going

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to choose the when-in-doubt brightening mode, which is Screen, and I'll end up

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getting this affect here.

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So it's almost as if I put the two images in different projectors and I'm

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shining them at the same screen.

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That's the kind of brightening effect I'm achieving here.

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I'm going to go ahead and turn on the Shadows layer. Click on it to make it active as well.

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The thing about working with the Color Range command the way we did just a

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moment ago where you choose Color Range and then you start clicking around is,

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you're kind of working blind because you have no idea how your selection

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outline is really going to manifest itself as a layer mask.

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If you want to get an idea, here's what you do.

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Cancel out. Create your layer mask in advance.

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So with that Shadows layer active, I'll drop down to the Add Layer Mask icon and

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click on it here inside the Layers panel.

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I'm also going to assign the blend mode that I eventually want to use, which is

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going to be the ultimate darkening mode.

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I'll go up to the Blend mode pop-up menu and choose it. It's Linear Burn.

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So we're really going to burn the heck out of those shadows.

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However, I don't want to keep this much of the image.

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I don't want to burn the entire thing into that background,

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so I am going to create a layer mask.

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But the beauty of working this way is whereas Color Range is normally a

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Composite Selection tool--so it looks that the Composite View of the image--

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when you have layer mask selected, it only looks at the active layer and that's it.

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So I'm going to go up to the Select menu, choose the Color Range command again,

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and this time now notice that it's automatically masking an area and it's showing me

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the result of that mask.

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So instead of delivering a selection outline this time around, it will deliver

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layer mask, which is totally awesome.

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I'm going to click inside that iris, which currently looks like a bright area

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because of that sand dune highlight that's running through it.

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But in the original image on that one layer it's actually a very dark color.

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So as soon as I click on it, you'll see that I'm selecting just the darkest

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colors inside the image, and they're showing up as white inside of this

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layer mask preview.

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I'm now going to increase my Fuzziness value to, let's say, 130 works out pretty

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well for this effect, and that's it.

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Now, you can add more key colors if you want to.

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You can go ahead, and Shift+Click on colors if you like, Shift+Drag inside the

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image in order to lift multiple colors at a time.

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Of course, that lifts way too many colors in my case,

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so I'm going to reset things by just clicking in that iris once again.

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Actually, that's more like the pupil.

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I'll click out here in the iris a little bit to grab that.

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Then I'll click OK in order, not to create a Selection Outline, but in order to

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automatically generate a layer mask.

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Now, of course you can edit those layer masks to any degree you like, but in my case I'm done.

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I'm going to turn on my text layers that I've created in advance here, press the

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F key a couple of times in order to switch to the Full Screen mode, and that is

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the quick and dirty, but elegant and highly automated way to select and isolate

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highlights and shadows inside an image.

