Sean Bagshaw continues his TKActions V5 Quick Tip series with a closer look at mask modification. Even though the V5 panel can generate hundreds of standard masks (Lights/Darks/Zones), the best mask is often one customized specifically for the image by the photographer. A full range of mask-modification functions is built into the V5 panel to insure that the perfect mask is always just a few clicks away. Sean shows how easy this is while discussing his thought process behind his choices.
If you missed the first episode, it covers the basics of viewing and selecting luminosity masks and adding them to adjustment layers.
Hope you enjoy these. If you have other V5 topics you’d like to see covered, please leave them in the comments section below.
I’m very happy to announce the all new TKActions V5 panel for Photoshop. This version is the next step in the evolution of luminosity masks, and it’s quite significant. The V5 panel was coded from the ground up and designed to make luminosity masks easier, faster, and more powerful than ever before. It features a new masked-based interface made possible by a speedier method I developed to generate pixel-based masks. Users will now see luminosity masks up front to quickly decide which one to use. If the standard masks aren’t quite right, no problem. There are buttons to modify any mask in real time and create a custom mask specific to the image. To complete the process, there is a full range of dedicated output buttons to insure a 16-bit workflow from mask to image.
It’s worth noting that the V5 panel still makes true 16-bit luminosity masks using Photoshop calculations. They are the same self-feathering masks that have changed the way we develop images in Photoshop. But now they’re available faster than ever, can be infinitely customized, and are displayed on-screen in a way that makes them much easier to see and use.
The new panel is also much smaller. Instead of one large mega-panel, the V5 is a series of modules. Users can open, close, dock, and arrange the modules in whatever way works best for their workflow.
Additional features in the TKActions V5 panel include:
Extended spectrums in multiple channels. In addition to the full spectrum of luminosity masks, the V5 generates Lights, Darks and Zone masks for component color channels, saturation/vibrance, color, and Color Range.
Quick-click “Control” module. This module has new buttons to run Photoshop to avoid having to search menus or remember keyboard shortcuts.
Quick-learn “Intro” module. This new module provides a simplified interface that creates all the basic luminosity masks, offers infinity modification, and has the full range of deployment options. Plus there is extended rollover help for those just getting started using luminosity masks.
Advanced “Auto-Apply” option. Applies masks directly to the active layer to instantly see the effect on the image.
Updated web-sharpening. Now with new controls for color profile conversion, running a personal action on the sharpened image, and an “extra sharp” option for detailed images.
Batch sharpening. Entire folders of images can be sharpened and saved instead of doing one at a time.
Multiple languages. The V5 comes programmed with a user interface that displays in four languages−English, Italian, German, or Spanish.
Updated active selection indicator. Users can now choose different active selection indicators to optimize how this feature displays on each module.
Rollover help on all buttons. A “Help” window at the bottom of each module tells what each button does.
Many other new actions and features. Mask modification, smart “Pick” button, history tracking of luminosity masks, creative image enhancement, and much more
There are videos about the new panel below. The one by Sean Bagshaw is from his new V5 Video Guide series. More information and additional videos can be viewed on my website. You can also download the detailed Instructions PDF.
There are two different versions of the V5 panel: one for Photoshop CS6 and another for Photoshop CC. An illustrated installation guide is included in the download folder.
As part of the official release of the new panel, an introductory discount is available to everyone on new purchases for next 2 weeks. Use the following code: V520off
It takes 20% off anything on the Panels & Videos page including the new V5 panel and Sean’s V5 Video Guide series that explains it in detail. Just copy and paste the code in the shopping cart to take advantage of this discount.
I hope you will give the TKActions V5 panel and videos a try. It’s another big step forward for luminosity masks and will change forever the way you use them.
NOTE #1: Things tend to get a bit hectic when there is a new panel. If you leave a comment or contact me and I don’t respond right away, please be patient. It may take a few days, but I’ll eventually catch up.
NOTE #2: The TK Infinity Mask panel has NOT been updated. This panel works independently of the V5 and remains the same. The TKActions V5 panel only replaces the TKActions V4 panel.
Today is the 10th anniversary of my original luminosity masks tutorial. It was linked in this post on NPN on November 13, 2006. NPN is a wonderful website to participate in image critique and improve photography skills. I had been posting images here for a few years prior. The tutorial was meant to be a way to share a Photoshop secret with my many friends on the forum. Here’s how it came to be.
I had been using luminosity masks for about 8 months before the tutorial was published. I first saw the term in a spam email in March that year, and, not knowing what a “luminosity mask” was, I turned to Google for answers. At the time, there wasn’t much to go on. I was able to piece together the method to make the initial selection, Lights-1, using Alt+Ctr+tilde in Photoshop 7. Looking at the mask I immediately knew this could very useful. A perfect mask created from the image itself. How cool! I understood Photoshop masks, but this “luminosity mask” was quite unique compared to the masks I was making with Photoshop’s standard selection tools.
I was instantly hooked. I soon started using luminosity masks all the time because they worked all the time. My images quickly improved. The luminosity masks and selections I used were created ad hoc by adding, subtracting, and intersecting the initial Lights mask and other masks derived from it. It was not an orderly process, but I could eventually find the mask I needed to target the tones I wanted to adjust.
Given how much I liked them and how little information I could find, I decided to try writing a tutorial that explained luminosity masks to others. This project started in late May 2006 and continued until mid-September. In addition to the challenges of writing and illustrating a tutorial for the first time, I also had to figure out how to explain the creation of these crazy (but very useful) masks on the fly as I developed images in Photoshop.
It was while writing the tutorial that I found the answer. I realized that focusing on “intersection” for the Lights and Darks series and “subtraction” for the Midtones would provide the needed framework for photographers to understand and visualize how these masks could target different tones. I wrote the first set of actions to make luminosity masks during the summer of 2006 and used them to create the tutorial’s illustrations. I also quickly realized these actions were much better than the ad hoc masks I had been cobbling together previously. They provided a huge efficiency boost compared to the “freehand” method. I could now do in one click what had been taking me several minutes before.
I was somewhat nervous as I prepared to post a link to the tutorial on NPN. There was still considerable disdain surrounding Photoshop manipulation in 2006. We all knew photographers were doing it, but most were reluctant to admit how much. Once posted, this tutorial would out me as an enthusiastic manipulator. Plus luminosity masks felt like an overly geeky process compared to the standard Photoshop tutorials of the time. Would readers be able to follow along? Would they even be interested? Regardless of these concerns, I had come to love this technique, and after over 3 months of writing, editing, illustrating, and recording actions, it was definitely time to set it free.
It turned out I was right about one thing . . . luminosity masks. They are indeed a useful technique for developing images in Photoshop. I was totally wrong, however, on how they would be perceived by the photographic community. Even in the manipulation-averse culture of 2006 they were quickly and enthusiastically embraced. The method for making luminosity masks described in the tutorial was adopted by other photographers and even became the standard of practice for a soon-to-emerge flock of luminosity mask experts. No one was more surprised than me that there would be this level of interest . . . or that luminosity masks would still be going strong a decade later.
While I didn’t coin the term “luminosity mask” (thankfully there was no spam filter on my email back in 2006), I am happy that this tutorial introduced them to a mainstream audience. I’m also pleased to have been able contribute to the body of knowledge about luminosity masks with additional tutorials on luminosity painting, mask painting, subtracted masks, 16-bit luminosity masks, infinity masks, and several blog posts.
But written tutorials only go so far. The world prefers videos, and this luminosity mask anniversary would be incomplete without acknowledging Sean Bagshaw. His video series are the clearest, best organized, most informative, concise yet thorough video instruction available on luminosity masks, and his examples demonstrate how they can be personalized to any workflow. There’s no doubt that Sean has helped many photographers grasp and ultimately harness the power of luminosity masks.
While the awareness, acceptance, application, and appreciation of luminosity masks has increased dramatically since that first tutorial, there’s still more to come. I love luminosity masks as much today as I did in 2006 and continue to experiment both with the masks and the extension panels that make them possible. I have a goal of making luminosity masks and these panels even smarter, faster, and more fun to use. While the first decade was a good start, I still have ideas that I want to explore and share. Please stay tuned.
I’m pleased to announce the availability of a new extension panel for Photoshop. The TKActions Basic panel creates luminosity masks and is meant to provide a simple way for anyone to add these techniques to their workflow.
The Basic panel incorporates the latest 16-bit method for making luminosity masks. It’s essentially the “Basic” tab of the TKActions V4 panel with a new layout and added features. The panel’s embedded scripts create Lights, Darks, and Midtones luminosity masks and also generate Curves and Levels adjustment layers with luminosity masks as the layer masks. This makes it super easy to start using luminosity masks to confine adjustments to specific tones and to see how adjustments through these masks blend perfectly into the rest of the image.
The “Channels” section of the panel creates luminosity masks on Photoshop’s Channels panel AND also creates an active selection of the designated mask at the same time. Active luminosity selections are the basis for luminosity painting, one of the most powerful methods for using luminosity masks. It’s an excellent technique for localizing brightness adjustments when burning and dodging. Painting through luminosity selections also provides precision for mask painting when exposure blending.
There is an integrated active selection indicator at the top of the panel. It’s a black and white scrolling bar that turns on anytime Photoshop detects an active selection. Since some luminosity selections do not generate selection borders (marching ants), this animated indicator informs the user when a selection is indeed present. Even if the marching ants are hidden in order to better evaluate painting through a selection, the indicator stays on and continues to provide a reminder that the selection is still active.
The white box at the bottom of the Basic panel provides rollover Help for any button. Simply roll the mouse over a button and this area displays a message as to what the button does.
Clicking on the rollover Help window opens the panel’s settings. From the settings dialog, users can control the panel’s color saturation and choose from five different languages for the panel’s interface.
The Instructions PDF is a short document that provides a more complete overview of the panel and what it does.
The TKActions Basic panel is free and can be downloaded here. It works on Mac and Windows computers and there are versions for Photoshop CC and Photoshop CS6 in the download folder. Four videos by Sean Bagshaw are also included to insure users are able to get the most benefit from the new panel.
NOTE: A folder of smaller PSD documents for the images used in this blog can be downloaded here.
Like many photographers, I love good black and white images. Not only do they create a connection with the earlier incarnation of the art form, but there is also a certain elegance to monochrome images when they’re done right. The lack of color creates immediate abstraction since a color-free world is not what we normally see. Texture, form, and line are elevated and so we engage with the composition at a different level. Black and white images remind us that color can sometimes be a distraction. There is deep beauty in the monochrome world, though it is often hard to see with our color-adapted eyes.
Unfortunately, my skill in making black and white images does not match my appreciation for viewing them. I struggle to get the tones properly balanced in my prints. There seems to be two competing problems. One is too much gray. The image may have a full range of tones, from black to white, but if the midtones predominate, then the image frequently looks gray . . . and quite dull. The solution to “too much gray” is to increase contrast. But this then leads to the second problem: textureless shadows and highlights. As contrast is increased, detail is lost in the shadows and highlights. Texture is critical to black and white. If the shadows are blocked or the highlights are merely light gray without definition, the image has a posterization quality with large areas of uninteresting dark and light tones. So it’s a fine balance with black and white, and it can take some effort to avoid too much gray in the midtones while maintaining appropriate texture in the shadows and highlights.
I’ve dabbled in black and white processing from time to time, experimenting with the different methods offered by Photoshop and Lightroom. Recently I’ve started using the “Pixels” output of from the TK Infinity Mask panel as another alternative. This “Pixels” button creates a pixel layer of the black and white infinity mask on the Layers panel, which basically constitutes a conversion of the color image to black and white. As I’ve started to understand it better, it’s provided some unique opportunities. Originally, I saw the “Pixels” option as an interesting feature to include in the panel, though I wasn’t sure how useful it would be. The panel, after all, was designed to make masks to aid other developing tasks; it wasn’t meant to actually create images. However, the panel’s sliders turned out to have some direct correlations to black and white images, and they provide an interesting approach to solving the problems listed above.
Before getting started with this discussion, there are a couple important points to cover. The first is the necessity of properly setting the RGB and Gray working spaces in Photoshop’s color settings dialog (Edit > Color Settings). In order for the “Pixels” output layer to match the panel’s preview infinity mask, the RGB and Gray working spaces must be properly aligned. The two most common pairings are as follows:
- RGB: ProPhoto RGB needs to be paired with Gray: Gray Gamma 1.8.
- RGB: Adobe RGB (1998) needs to be paired with Gray: Gray Gamma 2.2.
If the RGB and Gray working spaces are not matched, there will be a brightness shift between the mask previewed by the Infinity Mask panel and the “Pixels” output on the Layers panel.
The second point is a reminder that the “Pixels” output option is bit-depth neutral. If the original image is 16-bit, then the mask generated by the Infinity Mask panel is also 16-bit. But even more important is the fact that the pixel layer created via “Pixels” output is an identical 16-bit copy of the preview mask (provided that the RGB and Gray working spaces have been properly set). The process of converting the mask to pixels does not involve an intervening 8-bit selection that compresses the grayscale data. So even though the grayscale mask discards the color information in the image, the bit-depth of pixel-level brightness data is maintained.
Below is the first image I experimented with using “Pixels” output for conversion to black and white. Rolling the mouse over the image shows the final result. (NOTE: It may take a couple of seconds for the rollover image to load, but once it does, flicking the mouse back and forth across the image edge instantantly changes the image. Also, rollover images might not appear in the email feed but do work on the blog website.) I did not record the settings I used to create this, and it’s largely unimportant. The Infinity Mask panel is meant to be a place to experiment so see what works. Different color channels, different tones, and different slider settings can all be easily tried to achieve the best outcome. The “Pixels” output was really just a foundation in this case. It provided the initial color-to-black-and-white conversion. From there, additional masks and layers were added to arrive at the final image. But the conversion step was pivotal in guiding the image to its final form. The key in this case was using the Infinity Mask panel to find a TONE that looked best as white in the image, and then using the other sliders to manipulate the brightness values of the other tones and, in the process, remove the distracting background elements.
The second experimental image is shown below. Again, a rather uninteresting color image but one where the repeating lines and shapes might work well in black and white. The rollover shows the final presentation.
This image helped me better understand some of the fundamental relationships between the Infinity Mask panel’s controls and the monochrome image. Specifically the sliders.
The TONE slider determines which tone in the image will appear as white in the mask and therefore also white in the “Pixels” output. A “Lights-1” setting (TONE = 255) is a good starting point, but TONE values from 180 and up can be useful as experiments. The lower numbers help to open the highlights in the image which can then be further manipulated by the other sliders.
RANGE = Black Point. The RANGE slider determines the tonal width of the mask with the chosen TONE value as the center, whitest value. By decreasing the RANGE value (pulling the slider left), tones more distant from the chosen tone go to black. Some pure black in a black and white image often provides a good tonal foundation. The RANGE slider can help determine where the black begins.
FOCUS = Midtone Contrast. The FOCUS slider was designed to decrease the sometimes excessive feathering that is a natural part of luminosity masks. It does this by increasing tonal slope around the 50% gray value in the mask. In practical terms, this means that increasing FOCUS (pulling the slider to the right) is very good at eliminating midtone grays while maintaining shadow and highlight texture. This is probably one of the most desirable features when using the Infinity Mask panel to convert color images to black and white. The FOCUS slider provides a way to simultaneously control the two competing problems (too much gray and textureless highlights/shadows) mentioned earlier.
STRENGTH = White Point. The STRENGTH slider determines the whiteness of the chosen tone and similar tones. A value of 100 means that just the chosen tone is pure white. Values less than 100 gray-down the whites, and values greater than 100 white-out nearby tones. Leaving this slider set close to 100 is usually best.
Once these relationships between the Infinity Mask sliders and the black and white image are understood, some additional techniques become possible. One of the most useful is to combine different infinity masks using different TONE settings into the final image. While it’s sometimes possible to find one infinity mask that does a good job converting all tones in the image to black and white, it’s not always practical. Different tones in the image may require, or at least work better, with a different black point, white point, and midtone contrast settings. The Infinity Mask panel makes it possible to quickly make new masks that might work better for specific tones at specific tonal locations in the image. The “Pixels” output of these masks can then be blended into the final image, sometimes using the “Pixels” output as a mask or selection to do the blending. It’s even possible to create negative masks of the image and blend these into the positive and have them look completely natural.
This multi-tone blending technique was used to better control tones in two parts of the above image. Alternate infinity masks starting with different TONE settings were created from the original color image, and these were then blended in using the “Pixels” output as a selection stencil for painting white on a black layer mask to reveal these tones. The image below shows the final image without these additional blended masks and the rollover shows how the image looks more balanced with them blended in.
Starting to better understand how infinity masks could be used convert color images to black and white, I decide to try the technique on some finished color images. This turned out to be somewhat easier since the tonal relationships had already been properly established in the developed color image. It was relatively easy to make an initial “Pixels” output of an infinity mask of the image and then blend in a couple of additional infinity masks with different TONE settings to get the effect I wanted. The image below shows the “Pixels” output of the original conversion of a color image to black and white. The rollover is the final image with two additional infinity masks blended in. The additional “Pixels” output layers help create better contrast in the grays in the canyon and the cloud.
The last image is another finished image that was converted to monochrome using the Infinity Mask panel. This image illustrates the power of the color channels in the Infinity Mask panel. The plug-in that runs the Infinity Mask panel has its own recipe for creating luminosity masks. As a result, the color channel masks created by the panel don’t completely match the Red, Green, and Blue channel masks of Photoshop. In fact, for black and white conversion, I think the Infinity Mask panel’s color channel masks are superior. The Lights-1 versions of these channels offer some uniquely different interpretations of the image with higher contrast than the Photoshop color channels. If the color image has some strong color elements and/or strong color differences, the Infinity Mask color channels nicely separate these colors into different tones. The R (Red) Infinity Mask channel was used to make the initial conversion of the image below. The rollover shows the final image after some additional adjustments.
In summary, the TK Infinity Mask panel’s “Pixels” output option is a unique method for converting color images to black and white. The sliders have some direct parallels to monochrome image processing.
- TONE − Selects the image tone to display as white.
- RANGE − Sets the black point.
- FOCUS − Adjusts midtone contrast.
- STRENGTH − Sets the white point.
Multiple “Pixels” output layers can be created to enhance specific tones in the image, and these can then be easily blended together to create the final monochrome image. The color channels of the Infinity Mask panel also offer a surprisingly useful starting point to effectively exploit color variation for monochrome conversion.
For several months I’ve been working to expand the concept of the “Infinity Mask” first described in this blog post. An “infinity mask” is my term to describe a luminosity mask that has been further adjusted to more precisely select specific tones in the image. The “infinity” moniker comes from the fact that adjustments to the original mask are accomplished using a Photoshop Levels adjustment, which allows wide flexibility as to how the final mask actually looks. Granted, there may not be an infinite number of settings from which to choose when constructing an infinity mask, but there is certainly a huge new gamut of possible masks.
Feedback on the original infinity mask blog was very positive. Shortly after posting it I was contacted about the possibility of using a Photoshop plug-in to create these masks. The TK Infinity Mask panel is the result of this collaboration. It is shown below and offers a new method for working with pixel-based masks. The Photoshop plug-in that powers it has its own recipe for determining which pixels to include in the mask. The plug-in uses 32-bit floating point pixel-level data and is not restricted to just the luminosity values for individual pixels. Color channel data and even saturation data can be extracted from image pixels to create a new assortment of self-feathering masks that can then be “infinitely” refined.
The complete instructions PDF for the panel can be downloaded here. The most important features about the new panel are summarized below.
- The panel is mask-based. Like the Infinity Mask in the TKActions V4 panel, the user is seeing the mask in real time as they create the infinity mask that best suits their image. Having it visible helps insure that it correctly selects the intended image pixels as the mask is being manipulated by the panel.
- Different data channels can be accessed with one click. This is the top row of buttons on the panel. The plug-in can access Luminosity, red (R), green (G), blue (B), and Saturation data for all pixels. The panel then creates tonally feathered masks based of this data as it applies to these specific channels. The images below show what the different channels look like.
- Presets (Darks-1,Pick, and Lights-1) are available in the second row. These are channel-specific. For the Luminosity, R (red),G (green), and B (blue) channels, the Lights-1 mask is a black and white positive of the image (shown above). The Darks-1 mask is a negative of the image. For the Saturation channel, the Lights-1 mask is a saturation mask (lighter values in the mask correspond to higher color saturation) and the Darks-1 mask is a vibrance mask (lighter values in the mask correspond to lower color saturation). The “Pick” option is the most sophisticated preset of all. It opens the Color Picker to allow the user to click in their image. The plug-in extracts the pixel-level data of the area that was clicked and creates a mask specific to the chosen channel such that the clicked pixels are the brightest areas in the mask. If you’re familiar with the TKActions V4 panel, this would be like getting a matching Zone mask for any of the various Photoshop channel options at any point in the image.
- Sliders are used to adjust and fine-tune the mask (that is, to “infinitize” it). This is where the fun really starts. Once a preset button has been chosen, the sliders can be used to modify the mask in near real time depending on image size and computer speed and memory.
- TONE−This slider changes the tone that shows as white in the mask. For Lights-1 the TONE is set at 255 and for Darks-1 the TONE is 0. The slider or input box allows for any tone from 0 to 255 to be chosen. But how do you know which tone to choose? That’s actually quite easy when you can see the mask displayed on-screen. Just move the slider until the tones that need to be selected in the image are white in the mask. The on-screen mask updates every time the slider is moved. Or use the “Pick” button and select a tone directly from the image. The pick button automatically sets the TONE slider to match the tone that was clicked in the image.
- RANGE−This slider determines the tonal width of the mask. As the range is narrowed by pulling the slider to the left, more pixels are excluded from the mask and the mask gets darker. The selected TONE, however, stays white.
- FOCUS−This is a new feature for luminosity masks. The FOCUS slider increase midtone contrast in the mask, so the mask is less gray and more black-and-white as a result. The FOCUS slider addresses one of the common problems sometimes seen with luminosity masks, which is that they feather so perfectly that they bleed adjustments into parts of the image where no adjustment is intended. The FOCUS slider helps to prevent this. It increases midtone contrast in the mask while keeping the 50% gray value constant. When FOCUS is increased, there is more dark gray and black in the mask. As a result, adjustments bleed less beyond the selection border because they are more concealed by the mask. The panel also allows mask FOCUS to be decreased by pulling the slider to the left. This has the opposite effect. Midtone contrast in the mask is decreased, with the result being that adjustments through the mask bleed more into the surrounding pixels.
- STRENGTH−This slider is essentially the white point for the mask. At the default setting of 100, only the chosen tone will be completely white. Moving the slider to the left makes it so the chosen tone is no longer pure white but a shade of gray. The other tones in the mask are adjusted proportionally. A STRENGTH value greater than 100 allows tones near the selected tone in the image to also start showing as pure white in the mask.
- Multiple output options. Once the on-screen infinity mask has been adjusted to the satisfaction of the photographer, the output buttons at the bottom of the panel provide options to deploy it.
- Selection−Loads the infinity mask as an active selection.
- Apply−Applies the infinity mask as a layer mask to the active layer on the Layers panel
- Pixels−Creates a pixel layer of the infinity mask (more on this in a future blog post).
- Channel−Duplicates the infinity mask as an alpha channel on the Channels panel.
- Curves−Creates a Curves adjustment layer with the infinity mask as the layer mask.
- B/C−Creates a Brightness/Contrast adjustment layer with the infinity mask as the layer mask.
- H/S−Creates a Hue/Saturation adjustment layer with the infinity mask as the layer mask.
- Levels−Creates a Levels adjustment layer with the infinity mask as the layer mask.
Summary: The TK Infinity Mask panel provides a new way to construct and adjust pixel-based masks in Photoshop. Luminosity masks, color channel masks, and saturation masks can all be managed from one panel. The mechanism for creating these masks is a plug-in that runs in the background. It provides a visible mask based on the settings chosen by the user. The mask-based interface provides near real-time control of how the mask looks and ultimately which parts of the image will be revealed by it.
NOTE #1: I have contacted all customers I’m aware of who purchased the TKActions V4 panel for Photoshop CC to provide update options for the Infinity Mask panel. If you have the CC version of the V4 panel and have not heard from me, please check your junk/spam email or contact me for update information. If you purchased the V4 panel from Adobe Add-ons, please forward your purchase receipt (from FastSpring) or other proof of purchase as Adobe provides no information to me as to who purchased from their website.
NOTE#2: The TK Infinity Mask only works Photoshop CC in RGB Color mode. It does not work in Photoshop CS6
Since writing the first luminosity mask tutorial I’ve found countless uses for them and there are always new options to explore. For new users, though, it can sometimes be a bit daunting to know where to start. Understanding the basics of using luminosity masks can be a good stepping stone to more complex applications. A recent image provided a straightforward example of why luminosity masks can be so valuable. I’ll use it to review some basic concepts both in words and pictures.
Here are three important things to remember about luminosity masks:
- They select tones in the image, not individual elements. It helps when using them to start thinking “tonally” about what will be selected with a luminosity masks instead of trying to use them to make a precise selection of a specific part of the image. Luminosity masks work best in situations where tonal differences are well-defined instead of in situations where there are obvious pixel edges.
- The edges of luminosity masks are perfectly feathered for blending. These masks are created from the brightness values of individual pixels. Just as a photograph is a continuous-tone image, luminosity masks provide continuous-tone blending. Sometimes this feathering can be a bit too perfect, especially in the initial masks, bleeding an adjustment into even weakly selected tones. But it’s easy to narrow the tonal range selected using techniques in the original tutorial or using calculations for 16-bit luminosity masks. Some feathering is necessary and highly desirable for insuring perfect blending of any adjustment or other Photoshop maneuver into the rest of the image.
- They are incredibly precise when properly used. Tonal selection and perfect feathering make it possible to use luminosity masks to make extremely targeted adjustments. Painting through an active luminosity selection is perhaps the best way to take advantage of this since multiple brushstrokes can be applied to the same area, slowly building up the desired effect, while also insuring it blends flawlessly into the image.
The image below of a cloud from a clearing storm against a mountain background is the example I’ll use to illustrate these principles. This is the nearly finished version of the image. The main problem left to fix is that the cloud isn’t as well defined as it could be. It’s an accurate depiction of what was captured, but it lacks good textural quality because the tones, especially in the brightest areas on the left, are too close together to provide meaningful definition for the viewer. The cloud still needs some work to bring out the tonal texture that is present, but hidden in the brightest tones.
But how to isolate the cloud for additional development? It doesn’t have any good edges. The wind-blown wisps along its outer portions would be a challenge to select with any standard Photoshop tool. And the hard edges created by these tools would be equally difficult to feather into the image. However, thinking tonally, the cloud is distinctly separate from its background, so the tonal selection provided by a luminosity mask would be ideal.
While there are an infinite number of luminosity masks, it’s usually easy to spot the right one. It’s the mask that is whitest in the areas of the desired adjustment and very dark in areas where no adjustment is required. In this case, it was the Lights-3 mask (shown below). With this mask, the cloud clearly stands out from the background.
The red-overlay “view” mode (below) shows even more clearly how perfect this mask is. Not only is it more selected in the whitest areas of the clouds (darker red), but it also feathers very nicely to the edges of the cloud (lighter red). And, to top it off, there is no red in areas immediately adjacent to the cloud. So an adjustment using this mask will affect the whitest cloud areas most and feather perfectly to the wispy edges. There will also NOT be any haloing around the cloud caused by a poorly feathered selection. The luminosity mask will confine the adjustment to only those pixels where it’s needed. NOTE: The snow-covered mountain tops and upper cloud are also showing a small degree of selection (pale red) but it is a simple matter to paint these areas black in the final mask to exclude them from the adjustment made to the cloud.
Once the mask is decided on, it can be added to an adjustment layer. For this image a Levels adjustment works well. It takes the targeted tones and easily adds contrast to create more texture in the cloud, especially the blob-like, white areas. The Properties panel for this adjustment is shown below.
The image below shows the results. Rolling the mouse over this image shows what it looked like before this adjustment. (The rollover might not be visible in the email feed, but is visible on the blog website.) It’s easy to see how the cloud (and only the cloud) has had its texture significantly improved. This result displays one of the ideal qualities of luminosity masks, namely that they can separate tonal differences present at the pixel level which is nearly invisible to the eye. This is exactly what I was looking to do here, and the luminosity mask made it very easy.
This is a good start. The cloud shows improved tonal separation and is more congruent with the textural qualities present in the rest of the scene. However, this adjustment also had the unintended effect of graying-down the cloud. The tonal separation has been significantly improved, but some of the brilliance has been lost.
This now is a good example of a situation where painting through a luminosity selection (Luminosity Painting) makes a huge difference. This technique lets me selectively restore the crisp whites to the cloud by painting white onto a “Dodge” layer exactly where I want to add brightness. The luminosity selection controls which pixels receive paint and how much they receive.
LUMINOSITY MASK PEARL: The “7½” and “2½” zone selections are my initial go-to masks for removing this type of midtone grayness from an image. Painting white through a Zone-7½ selection lightens the lighter grays, but, because the very lightest tones in the image are subtracted off, it prevents blowing out the whites. The Zone-2½ selection does the same for the midtone darker grays. Painting black through the Zone-2½ selection darkens these grays, but, because the darkest blacks have been subtracted off, maintains enough texture to keep the details from going black. A 30% opacity brush is a good starting point, and plan on using multiple strokes to slowly build up the desired effect.
Painting white through a Zone-7½ selection in this case nicely targets the cloud without leading to a loss of texture in the brightest whites. It also prevents spilling paint onto the darker tones in the mountains behind the clouds. Some care is taken to use a brush size that allows paint to mostly fall on the gray clouds that need to be brightened and to allow selectively painting some areas multiple times.
The “Dodge” layer for this luminosity painting is a blank pixel layer set to Overlay blend mode. This painted layer, placed against a gray background, is shown below. It demonstrates how the Zone-7½ selection very nicely confines the white paint to the cloud and how I was able to add more paint to some areas to increase the effect exactly where I wanted it.
The final image is shown below. The rollover is the image before luminosity painting.
In summary, this image, with its poorly separated cloud texture, is a classic situation for using luminosity masks. Three important luminosity principles were applied:
- Think tonally−Choose luminosity masks in situations where there is adequate tonal separation which can be exploited to create a useful mask or selection.
- Find the right mask and feathering−Look for a mask that is clearly lighter in the areas that need adjustment compared to areas that should not be adjusted.
- Paint for precision−Use luminosity painting to precisely burn and dodge the image to create the proper tonal balance.
These concepts can be applied to other situations where luminosity masks are being considered as a tool for image development.
If you’d like to experiment with these techniques, a downsized-size jpg of this image without the adjustments described in this tutorial can be downloaded here.