Complex masks can be easy to make
If you read my two earlier tutorials on luminosity masking, or have found articles and videos on the Internet, you probably have realized that using luminosity masks are, for the most part, an intermediate-level skill. Using the basic luminosity mask generated by Cmd/Ctrl-clicking on a channel thumbnail to load the lights as a selection (or inverting the selection to load the darks, instead), is something anyone can do. Anybody with Photoshop, or an application with similar features and access to the channels, can start using a basic luminosity mask to control adjustments and tint effects, and from observing, begin to understand how luminosity masks are different from other kinds of masking. In Photoshop, Select> Color Range> Shadows/Midtones/Highlights goes a step further, letting the user more specifically target a range of tones, instead of simply all the lights or all the darks, while still being intuitive and interactive.
However, the user who wants to make greater use of luminosity masks is going to need more advanced techniques and strategies for editing their images. This is where purchasing a 3rd party assistant can make a major difference between occasionally dabbling with luminosity masks, and incorporating their use into an everyday workflow. For no money at all, anyone with an Internet connection and a little Googling can find out how to make a series of ever more narrowly-targeted luminosity masks. A basic understanding of recording actions in Photoshop (or comparable software), lets the user turn the steps for creating the masks into a one-click action. For the DIY-er, this might be just enough, but whenever I’m going to incorporate an editing method into my workflow, I want it to be as easy as possible. I know I’m going to have my work cut out just learning new strategies and finding the right conditions for the new method. I don’t really want to work with the most primitive tools available if there’s something fairly affordable that can help me out.
For roughly a week’s worth of Starbucks’ lattes, you can get the TKActionsV4 Extension panel to work with Adobe Photoshop CS6 or CC. Although Tony Kuyper was the first to create an extension panel, TKActions are no longer the only extension panel or series of actions for Photoshop, and I’ve not tested the others—you may wish to. A script for GIMP users is also available. I chose TKActions because I felt the panel was very encouraging both for beginners to the wide world of luminosity masking (myself at the time), but also to ongoing experimentation with the masks as I developed better strategies—and the price was within my budget. After using TKActions 3, I gladly upgraded to V4, as it clearly had new features and a new organization that made it much easier to use.
When I first started out, I had no clue precisely what mask to make for any given image. Instead, I chose to work with Darks, Midtones, or Lights, then clicked a single button on the panel to have the action generate all the masks for the group and store them in the Channels panel. Next I viewed each mask in turn to see which one both included the area I wanted to modify, yet was restrictive enough not to include areas I didn’t want to modify. Note: if you’re not used to using actions, they are incredibly quick to run, so you’re not twiddling your thumbs every time you run a complete set. This made it easy to experiment and learn, but somewhat slow.
As I began to get a feel for the masks, instead of running all the darks, for example, I thought about whether I wanted most of the darks, or a more narrowed selection of some darker darks. The TKActions panel has always made viewing a selection simple, and with v4, it’s even easier. Now I click View to see a rubylith overlay on my image (or blue, if that’s better for me). The layers placed in the Layers panel are temporary—click View again to turn off the rubylith, remove the layers from the panel, and restore the marching ants. If the ants aren’t visible because no pixels are selected with more than a 50% opacity, a border around the upper half of the panel has a “marching ants” look that lets me know a selection is active. If my selection doesn’t appear very useful—too much or too little is selected—I guess again and choose another selection—each “guess” only takes a second to preview. I then click on a button to add a layer and mask for adjusting. Of course, once I have an active selection, I can use Photoshop directly, but if the TKActionsV4 panel is already open, I have a number of one-click choices available.
Beyond access to the basic luminosity layers that any action set will give you, I can choose to make selections using the digital Zone system, or create other multi-zone off-center selections, with the panel’s features aiding me in my choice. These selections help protect the lighter and darker tones around the selection from being affected by the adjustment. I first add a Curves adjustment layer, use the Targeted Adjustment tool (the hand with the pointing finger icon) to hover over the area in the image I want to adjust, then look at the input number at the bottom of the Curves panel. With that number in mind, I hover over either the Zone system numbers or the Multi-zone off-center selection numbers to find the number that comes closest, and choose that button for my mask. The unadjusted Curves layer is only used as an aid to locating the right masks while I’m editing the image.
I’ve barely touched on first steps when using the panel. It’s easier in practice than it is to describe, which is why there is so much documentation and tutorials for it. I’ll continue another time describing more strategies.