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1.

If you -click the layer mask icon, you can preview a layer mask in Normal Mask mode.

2.

If instead you -click the layer mask icon, you can preview a layer mask in Quick Mask mode. The mask can be edited more easily in either of these preview modes. The Backslash key ( ) can be used to toggle showing the layer mask as a quick mask and return to Normal view mode again.

Creating a layer mask from Transparency

Photoshop CS5 now allows you to create a layer mask from transparent data on a layer. In other words, it allows you to split the contents of an existing layer into color and transparency data. In the example shown here I was able to take an existing paint layer from the image shown in Figure 9.21 and split it into a layer that contained all the color and tone information, masked with a layer mask that defined the transparency of the previously applied brush strokes. From there I was able to edit the layer and layer mask separately and this allowed me to carry out fine-tuned adjustments to the painting layers that would not have been so easy to accomplish before I had separated the layer into these two components. Another suggestion would be to take a paint layer, split it into a layer and a layer mask and then blur the paint colors to blend them better while still preserving the transparency of the brush strokes.

Figure 9.21 This shows a before shot of the photo that was edited here.

1.

This shows a photograph taken from a step-by-step technique in which I applied two paint coloring layers to remove the dark roots from the model's hair. On one layer I painted with the layer set to ‘Soft Light’ blend mode and on the other I painted with the layer set to the ‘Color’ blend mode. I was able to do a fairly convincing job of removing the roots, but suppose I wanted to fine-tune the brush strokes? I selected the Color layer shown here, went to the Layer menu and chose Layer Mask From transparency. I then did the same thing with the Soft Light layer.

2.

Here you can see how the Soft Light layer pixel layer and layer mask looked when separated in this way and viewed independently. As you can see, the pixel layer looks rather surprising, but the combination of this plus the mask layer still produced the same end result. Next I was able to target the pixel layer and the mask independently and make fine-tuned edits to both to achieve a better overall look from the paint layers.

Masks panel

I have already shown a few examples of how the Masks panel can be used to modify pixel or vector layer masks and the Masks panel controls are all identified below in Figure 9.23. The pixel mask/ vector mask selection buttons are at the top of the panel and can also be used as ‘add mask’ buttons. Below that are the Density and Feather sliders for modifying the mask contrast and softness. Next are the Refine mask buttons, which are only accessible if a pixel mask is selected. The Mask Edge… button opens the Refine Edge dialog (so why not call it Refine Edge?) where, as you can see in Figure 9.24, you can further modify the edges of a mask. The Color Range… button opens the Color Range dialog, where you can use a Color Range selection (as shown on pages 362–363) to edit a mask. The Invert button inverts a pixel mask, but if you want to do the same thing with a vector mask you can do so by selecting a vector path outline and switching the path mode (see page 536). At the bottom of the panel there are buttons for loading a selection from the mask, applying a mask (which deletes the mask and applies it to the pixels) plus a Delete mask button.

Density and mask contrast

The Density slider answers requests to have some kind of control over the mask contrast. A lot of layer masks will originate as black and white masks where the image adjustments or pixel layer contents are either at full opacity or hidden (the same is true of vector masks of course). The Density slider allows you to preserve the mask outline, but fade the contrast of the mask in a way that is completely re-editable.

Masks panel options