Instructions TKActions V5

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TKActions V5
Luminosity Masks and More
©2016 Tony Kuyper
TKActionsV5 panel ©2016 Tony Kuyper

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Table of Contents
Legal Notice / Acknowledgement 3
Overview 3
New Features 5
Very Important Information 9
Installation 11
The Control Module 12
The Basic Module 15
Luminosity Lock/Rapid Mask 17
The Intro Module 19
The RapidMask Module 22
The LayerMask Module 26
The Actions Module 29

ACTIONS Section 29
COLOR Section 32
WEB-SHARPENING Section 35
BATCH SHARPENING Section 37
Saturation/Vibrance 37
Saturation Painting 40
Workflow Considerations 41
Troubleshooting 43
Detailed videos on how to use the panel are available here:

http://goodlight.us/panels-and-videos.html
NOTE: Button names of the panel are underlined in the sections that follow.

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LEGAL NOTICE
The TKActions V5 panel is copyrighted material (©Tony Kuyper). You may use the
panel for your personal work and enjoyment but transfer or sale is prohibited. If
someone is interested in using the panel, please have them visit my website
www.Goodlight.us to obtain it.
The terms TKActions, Rapid Mask, and Luminosity Lock were coined by Tony Kuyper
and are trademarks of his products− TKActionsTM, Rapid MaskTM, Luminosity LockTM.
Thank you for respecting the time and effort it takes to develop these techniques
and for showing the appropriate consideration for the intellectual property of
others. As always, please feel free to contact me if you have questions, comments,
or suggestions.
ACKNOWLEDGEMENT
The TKActions V5 panel owes much to those who have contributed suggestions and
feedback based on their use of previous versions of the panel. Thank you to
everyone who has shared their thoughts on how to continue making this panel
better. Sean Bagshaw, André Distel, and Luca Libralato were the alpha-testers for
the panel and have provided valuable recommendations. The panel has also drawn
on the work of Alex Nail, Chris Tarantino, and Ryan Dyar. In addition, there are
numerous YouTube videos and websites that went untracked that continue to
influence and inspire my own workflow and panel-coding.
OVERVIEW
Since the publication of the original tutorial in 2006, luminosity masks have become
a widespread and widely-accepted technique in the digital photographic community.
From initially intersecting selections, to 16-bit calculations, to the Infinity Mask and
Zone-Picker, methods for creating and using luminosity masks have continued to
develop and improve. The TKActions V5 panel is the next step in this evolution and
is meant to fundamentally change the way luminosity masks are created and used.
Previous versions of the panel provided active selections, a view mode, and channel
masks as ways to create and use luminosity masks. The TKActions V5 panel still
has these options, but this newest version is primarily mask-based so that the user
actually sees their mask from the start. This makes it easy to visually decide which
mask to use and to even modify the mask to more precisely match specific pixels.
To do this, the V5 panel introduces Luminosity Lock and Rapid Mask as new
methods to generate, view, adjust, and deploy luminosity masks.
Luminosity Lock locks in the luminosity information of a current state of the image.
This data can be from the composite RGB channel or a component channel like the
Red, Green, or Blue channel. It can also come from the saturation values of the
image or from specific colors in the Color Range command. Once the luminosity of
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a particular channel is locked in, a Rapid Mask is generated. It can be any of the
masks from the entire spectrum of luminosity masks and it can be changed with a
single button click at speeds up to 90% faster than previous versions of the panel.
The Rapid Mask makes it possible to flip through Lights, Darks, Midtone, zone,
saturation, vibrance, and Color Range masks at nearly real-time speeds. No more
waiting several seconds for Photoshop to calculate and generate a new luminosity
mask.
It's worth noting that all Rapid Masks in the new V5 panel are TRUE 16-bit
luminosity mask generated using Photoshop calculations. They are based on the
actual pixel values of the image and not on artificial values created by manipulating
adjustment layers. The masks created by the V5 panel are the same luminosity
masks that have proven their usefulness in countless images and that are noted for
their seamless blending when adjusting an image. The Rapid Mask process just
makes them available in record time, in an expanded spectrum, and with new
options for additional refinement.
These refinement options provide a way to better manipulate the mask to precisely
select the pixels the user wants. There are many options. The Infinity feature is
one of the most versatile. First introduced in the V4 panel, it can now be applied to
ANY mask created by the Rapid Mask process; it isn't limited to just Lights-1 and
Darks-1. There is even an "Auto" infinity mask option that normalizes a dark gray
zone mask to a full spectrum grayscale mask (black-to-white) with a single button
click. Beyond infinitizing masks, Contract, Expand, Focus, Blur, and Invert are
additional real-time operations that the V5 panel can do with a Rapid Mask as a
starting point.
In addition to the new ways to create and modify luminosity masks, the V5 panel
also updates output options. The goal in coding the new panel was to insure that
the user could easily maintain a 16-bit workflow with the masks they create. That
means avoiding 8-bit selections wherever possible. To meet this goal, specific
output buttons are now part of the panel. Layer masks, channel masks,
adjustment layers with attached masks, and even pixel layers of luminosity masks
can quickly be generated from the current Rapid Mask using designated buttons.
This insures that the output mask or layer matches the bit-depth of the Rapid Mask.
Selections of the Rapid Mask can still be made and are useful in situations like
luminosity painting, but a strict 16-bit workflow is now built into the panel and easy
to achieve. (NOTE: The V5 panel will even output 32-bit masks when working with
32-bit images.)
The Rapid Mask feature of the V5 panel opens many new possibilities. The new
LayerMask tab explores one of these options in detail. The buttons in this module
auto-apply the Rapid Mask directly as a layer mask on the active layer. This allows
users to change or modify a layer mask in real-time while still looking at the image.
So instead of looking at a mask and wondering if it will work in the desired manner,
it's now possible to directly place it on the actual layer where it will be used and see
the results. Rapid Mask makes this fast and effortless, and the results can be
undone or a new mask tried with the click of a button. It's a new way to use

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luminosity masks and should be especially useful for those familiar with how these
masks work.
Enhancing luminosity mask creation and use was definitely the primary focus in
developing the V5 panel, but the other sections have also been upgraded. There
are new and improved Control buttons, several additional actions, and new features
in web-sharpening including batch processing.
Like with any new technology, there will be a learning curve when starting to use
the V5 panel. The V5 panel is mask-based, which is a significant change from the
V4 panel which was selection-based. Rapid Mask allows users to see and adjust
masks in real-time and then to deploy the mask in the desired manner using
dedicated output buttons. The mask-based approach affords increased control up
front for viewing, choosing, adjusting, and generating the ideal mask for a
particular development goal. The speed alone will make the V5 panel easier to use,
but the added flexibility for mask adjustment should also open new creative
opportunities for both the casual and dedicated user. So be sure to allow a little
practice time to get to know the V5 panel and what it can do. It's nearly impossible
to break the panel, so don't be afraid to click through the buttons and watch what
happens.
NEW FEATURES
TKActions V5 is entirely new. It was coded from scratch in order to include many
new features. It is smaller, smarter, and faster than its predecessors and has
greatly expanded capabilities. While the panel was primarily developed to take
advantage of the Photoshop CC extension panel architecture, there is also a version
for Photoshop CS6. However, several of the in the CC panel simply cannot be
coded into CS6 panels anymore since the CS6 panel platform relies on older
technology and doesn't support them. The list below reviews some of the V5
panel's newest additions with a note where the feature is only available in the CC
version.
Modular design. No more mega-panel. The individual tabs of the V4 panel have
become their own individual panels, now referred to as modules. The user can
open just those modules they actually use. It's a more compact and user-friendly
design that allows the user to arrange the modules to suit their preferred
workspace. There are five different V5 modules. They provide basic to advanced
options for creating luminosity masks so it's unlikely that anyone will consistently
use all of them. However, the modular design means the panel can continue to
adapt to the user as their needs change and skills improve.
Rollover help (CC version only). All CC modules have a Help box at the bottom.
Roll the mouse over any button to show a quick help message in this box that tells
what that button does and/or how to use it.
Language switch (CC version only). Multiple

languages have been programmed in and can be
accessed from the panel's settings. Clicking the

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Help box at the bottom of each module opens the settings window.
Color fade (CC version only). This feature allows users to choose their preferred
appearance of the module. While border color for the buttons and colored
backgrounds are used to create meaningful functional groups, too much color can
be distracting for some users. Each module now has a slider, found in the settings
window, to choose from 11 different levels of color from none to 100%.
Mask-based vs. spectrum-based. The V5 panel abandons the selection-based

workflow of the V4 panel and its predecessors. Only the Select buttons on the V5
panel will produce selections anymore. Selections are 8-bit by default, and the V5
works to avoid resorting to 8-bit states as much as possible. In order to do this,
the V5 panel uses masks, which always match the bit-depth of the image. 16-bit
masks in 16-bit images, 8-bit masks in 8-bit images, and even 32-bit masks in 32-
bit images. The V5 modules either show the mask to the user or directly apply it to
a layer. An intermediate selection is no longer necessary and the user sees more
masks and less marching ants as a result.
Luminosity Lock/Rapid Mask. These two features comprise the core engine that
drives several V5 modules. Together they provide a new method to create, adjust,
and deploy luminosity masks. They were mentioned in the OVERVIEW section of
this PDF and will be discussed in greater detail in the instructions on the individual
modules. This new method still produces TRUE luminosity masks using Photoshop
calculations. It just does it much faster, even on big, multi-layered images.
Expanded spectrums for all channels. The Luminosity Lock/Rapid Mask

functionality opens up a full spectrum of masks for any "channel" that can be
luminosity-locked. This includes saturation/vibrance, Color Range, and all
component channels of the RGB and Lab color modes. There is a dedicated section
in the panel for luminosity-locking these channels, and once that's done, the entire
spectrum of masks automatically becomes available in that specific channel. In
other words, any channel that can be luminosity-locked can be also "spectrum-
ized." This creates opportunities to use these channel-based "luminosity" masks in
new ways. For instance, there can now be a "Darks-3" Vibrance mask, or "Zone 6"
cyan Color Range mask, or a "Lights-4" Red channel mask. Masks that previously
would have been very hard to make (and perhaps even hard to conceive) are now
possible with a couple of button clicks.
Mask modification. Beyond the new range of masks possible with the V5 panel,
Rapid Mask also makes real-time mask modification possible for all masks created
via the Rapid Mask process. For example, any mask can be "infinitized" through a
dedicated Infinity (∞) button which opens up a Levels dialog so the user can
directly manipulate the mask. The Auto option quickly applies an auto-Levels
adjustment to the mask so that the mask exhibits a full range of grayscale values
from black to white. There are also buttons that provide a one-click option to
Contract, Expand, Focus, Blur, and Invert the Rapid Mask. The options may seem a
bit overwhelming initially, but once the mask is visible on the monitor, it's usually
pretty easy to decide which modification might be useful.

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Enhanced Pick Button. The Pick button on the V5 panel is smarter than ever. Its
initial incarnation in the V4 panel would select among 23 different zones derived
from the composite RGB composite channel. In the V5 panel, the Pick button keeps
track of the luminosity-locked channel and picks a zone specific to that channel.
For instance, if the Blue channel is chosen for Luminosity Lock, then the Pick button
uses the blue value from the sampled pixels and creates a zone mask where that
blue value is strongest. In this way it's possible to create masks strong in the blue
tones (zones larger than Zone 5 which are positives of the Blue channel) or weak in
blue tones (zones smaller than Zone 5, which are essentially anti-blue zones or
negatives of the Blue channel). In each case, the Pick button looks at the amount
of blue in the sampled pixels and chooses a zone mask that matches that level of
blue. (NOTE: Luminosity Lock from Photoshop's Color Range (CR, R, G, B, C, M and
Y buttons) inactivates the Pick button since the Color Picker, which is used to
sample pixels for the Pick button, does not provide data corresponding to the Color
Range.)
Integrated 16-bit mask workflow. The V4 panel introduced 16-bit luminosity

masks to insure the best possible mask that matched the bit-depth of the image.
The V5 takes this to the next step by having dedicated output buttons that
automatically preserve the bit-depth of the mask. 8-bit selections are avoided
whenever possible. The user can easily create selections of any mask if it suits
their needs, but they can just as easily maintain a strict 16-bit workflow when
outputting masks as layer masks, channels, or pixel layers.
Auto-Apply. The V5 LayerMask module is dedicated to using Luminosity Lock and

Rapid Mask in a new way to auto-apply masks directly to the active layer on the
Layers panel. This is the quickest way yet to use luminosity masks. All luminosity
mask creation, adjustment, and deployment steps happen in the background and
the result is then automatically applied as a layer mask to the active layer. The
user simply looks at the image and decides if the right mask has been applied. This
is particularly useful when using luminosity masks to restrict a particular effect to
specific tones in the image. Auto-apply makes it possible to quickly change to a
different mask (or modify the current mask) to dial in the best way to "reveal" a
layer in a given circumstance. The LayerMask module is also potentially useful in
exposure blending. Various masks can be quickly changed out to find which works
best. A basic understanding of the tones selected by the various masks is helpful to
do this efficiently, but auto-apply is also a great tool for learning how different
masks and modifications affect the image.
History tracking of luminosity masks. Several

photographers have written to ask if there is a way to track
which luminosity mask was created. The History panel now
does this. Almost all V5 buttons utilize a condensed history for
the steps performed by that button. As part of this, a brief
description of what was done for each action appears on the
History panel, including the name of the specific mask that
was created or used. This feature is particularly helpful in
seeing which mask was chosen by the Pick button.
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Improved functionality in Lab color mode. Many more features in the V5 panel
now work in Lab as well as RGB color mode. It should be noted, however, that the
panel can only do what Photoshop allows. For example, a Vibrance adjustment
layer is still NOT available for images in Lab color mode even though the panel has
a button for creating one. Photoshop doesn't allow this, and neither can the panel.
Additional Web-Sharpening Options. Again in response to email suggestions,

the Web-Sharpening section has been upgraded. Users can now choose an "Extra
Sharp" option for highly detailed images and can also have the panel convert the
sharpened image to the sRGB color profile if that is useful. It's now also possible to
automatically play an action once the image is sharpened in order to do things like
adding a watermark to the image.
Batch-sharpening (CC version). This was one of the last major features added
to the V5 panel. It allows all the functions in the revised web-sharpening section to
be applied to an entire folder of images.
Lots More Actions. The V5 Actions module has several revisions. The removal of
the Saturation/Vibrance section (it's now a channel that runs from the RapidMask
module) makes room for new actions. Vignette, Frequency Separation, Restored
Orton, Add Color, Neutralize Color Cast, and Dust Detection were some of the
suggestions received and added. The Triple Play has also been added back to the
V5 Actions module after being removed from the V4 panel. The coding and number
of buttons for the Triple Play have been greatly reduced by having the user enter
their desired blur radius at the start.
Miscellaneous Changes:
Icon buttons (CC version only)−The new icon buttons are primarily in the
Control module. Icons allow a smaller footprint than word-based buttons.
(Remember, when not sure what an icon stands for, rolling the mouse over the
button provides a quick reminder of what it does in the Help window at the bottom
of the module.) The switch to icons allowed several new Control buttons to be
added including "Canvas" (canvas size), "ACR" (camera raw filter), "Color" blending
mode, and multi-step Undo and Redo.
Infinitized View button−The View button remains for when user wants to see
and active selection as a mask, but the mask viewed is grayscale (instead of the
red overlay of the V4 panel) and a levels dialog opens at the same time to allow the
user to customize the mask while viewing it. (NOTE: The View button will probably
be used less since the workflow of the V5 panel is already mask-based and the user
will routinely be able to see the mask.)
Improved zone buttons (CC version only)−Whole zones are white and half
zones are black, just like piano keys. The calculation method for zones has also
been improved making them more precise. Subtraction has been eliminated as the
method for making zone masks and selections, so subtracted masks have been
eliminated as well. The mask modification keys can be used to make the new zone
masks wider (Expand button) if that's necessary.
Active selection indicator (CC version only)−It's still present at the top of each
module. It now has a smaller footprint and multiple display options. See the
"Update of panel changes" PDF in the download folder for more information.
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VERY IMPORTANT INFORMATION
1. CC and CS6 versions of the panel are slightly different. There are two
versions of the V5 panel. One works in Photoshop CS6 and the other in Photoshop
CC. The panel will NOT install nor work in CS4 or earlier versions of Photoshop.
While the CS6 panel will install in Photoshop CS5, there is potentially a bug in early
versions of CS5 that generates obviously flawed masks with the 16-bit calculations
now used to generate the masks (info). If you are still using PS CS5, a way to test
for the bug is to download the free Basic module and check the luminosity masks it
generates before purchasing the CS6 version of the V5 panel.
The CC and CS6 versions of the V5 panel are built on completely different
software platforms. As such, they are not interchangeable. The CS6 version will
not work in CC and vice versa. The Flash-based CS6 panel also does not support
several of the advanced features programmed into the HTML-based CC panel.
Below is a list of features present ONLY in the CC panel:
• Active selection indicator.
• Rollover help.
• Color fade−The border colors for buttons cannot be de-intensified in the
CS6 panel.
• Language Switch−The language of the CS6 buttons cannot be changed.
• "Adjust" output button−CS6 users will NOT be able to create a masked
adjustment layer where the layer mask matches the Rapid Mask directly from
the RapidMask and Intro modules. Instead, if they want a strict 16-bit
workflow they will need to first create the desired adjustment layer from the
Control module the then use the Apply button to apply the Rapid Mask to
that layer.
• Piano-key Zone buttons−The Zone masks of the CS6 panel are regular
buttons with the mask number inscribed on the button.
• Auto-installation of the "TK-V5-Actions" actions set−This action set is
need for the #1, #2, #3, etc. buttons of the Actions module. CS6 users will
have to manually install this action set (located in the download folder) using
information in this PDF:
http://goodlight.us/writing/loadingandusingactions/loadingandusingactions.p
df
• Changeable color themes−Regardless if using a light or dark Photoshop
color theme, the CS6 panel always displays a light theme.
• Batch-sharpening−Web-sharpening that can resize and sharpen an entire
folder of images is only available in the CC version of the panel.
• In-panel web-sharpening−The CS6 panel opens an additional pop-up
window for web-sharpening. It's the same web-sharpening script as the CC
panel; it just needs a new dialog window from which it can be run.
2. Properly set up the working color space. There is a PDF called "Setting Up
the Color Working Space" in the download folder. It explains how to properly set
the color and gray working spaces in Photoshop. Be sure to read it and implement
its recommendations to get the best results when using luminosity masks.
3. The actions in the panel are meant to be used in RGB and Lab color
modes. While some actions will work in Grayscale and CYMK, the buttons have
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only been tested in RGB and Lab. Not all buttons will work in Lab because
Photoshop doesn't allow that particular function. For example, it's not possible to
create a Black and White adjustment layer in Lab. As such, that button to create
the Black and White adjustment layer only works in RGB color mode.
4. Rapid Mask speeds will vary. The Luminosity Lock/Rapid Mask process was
developed and programmed on an older Windows computer with a 2.67 GHz
processor, 12 gigabytes of RAM, and 64-bit operating system. On this computer,
creating luminosity masks/selections using the scripts in the V4 panel took 5 to 7
seconds on an image with multiple layers starting from a 20 megapixel capture.
Luminosity Lock is now the rate-limiting step in creating luminosity masks. On this
computer, the initial luminosity lock of any composite or component color channel
can still take a similar amount of time, around 6 seconds. However, subsequent
Luminosity Lock operations of different component color channels takes less time,
around 4 seconds.
Rapid Mask creation is where the significant speed increase is seen. Rapid
Masks are created based on data saved during Luminosity Lock. So once
Luminosity Lock is complete, calculating the Rapid Mask proceeds quickly. More
calculations still take more time, though, and since Rapid Masks are still true
luminosity masks, calculating some of them takes longer than calculating others.
For example, the new Rapid Mask for Light-2 and Darks-2, which take very few
calculations, take around a second to appear on-screen. Lights-5 and Darks-5,
which require more calculations, take around 2 seconds. Zone 5, which requires
just one calculation, takes less than a second. Zone 0 and Zone 10 which require a
significant series of calculations, take 2½ seconds−still pretty short.
Luminosity Lock of Saturation and Color Range also takes 6 to 7 seconds,
but once this is done, the Rapid Masks are created in the same time as with the
composite/component color channels, which is as expected since Rapid Masks only
depend on what was saved during Luminosity Lock. Mask modifications, which
require only one calculation, take less than a second. Deploying the Rapid Mask
using the output buttons is also nearly instantaneous.
Luminosity Lock and Rapid Mask were also tested on an Apple Mac Book Air
computer with 8 gigabytes of RAM and everything was considerably slower, some
operations taking twice as long. The explanation for this is unknown. The limited
RAM on this unit (only 4 gigabytes are free) and the integrated video card may be
factors. Mask modification and output are still extremely fast. The takeaway from
all this is that there are likely several factors that may affect the speed of the
Luminosity Lock/Rapid Mask process. Image size, computer configuration, and the
number of layers were variables observed to affect the speed at which Rapid Masks
could be displayed. This seems logical since luminosity masks require calculations.
However, Rapid Mask is always much faster than similar processes with the V4
panel, which always built luminosity masks and selections from scratch. So
generating, viewing, and modifying Rapid Masks is always faster on the V5 panel,
but the necessary calculations still need to be done, and actual times will vary
between computers.

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5. Be sure to have automatic layer

masks turned on. Several actions in
the panel need layer masks. In most
cases the actions are smart enough to
create a layer mask if one is missing, but
it's generally a good idea to have this
feature turned on in Photoshop. To do
this open the Adjustments panel (Window
> Adjustments). Then click the fly-out
menu in the upper right corner of the
panel. Make sure "Add Mask by Default"
has a check mark beside it. If it doesn't,
click "Add Mask by Default" to turn it on.
6. The module sizes are fixed and

cannot be altered. The V5 panel is
smaller than its predecessors. Preferred
modules can all be stacked into one
docked panel container if space is tight.
7. Give the actions time to complete

their steps. While the panel increases
speed and efficiency of many functions,
it's important to keep in mind that
Photoshop is still executing numerous
steps in the background each time a
button is clicked. Some of the multistep
actions called by the panel are memory-intensive and still take considerable time to
finish. At other times, buttons will not work because there is a condition, like an
open dialog window, that precludes any Photoshop function from running, including
actions in the panel. While the panel itself is nearly impossible to break, it is
possible to push buttons too rapidly or at the wrong time and end up creating error
states in Photoshop. It should be infrequent, but it's not impossible. If you do
notice a predictable and repetitive error, please contact me so I can fix it.
INSTALLATION
The user needs to manually install both the CS6 and CC versions of the panel. This
is not hard. There are step-by-step directions and illustrations for installing the
panel in the download folder.

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THE CONTROL MODULE

The Control module has buttons to run many
common functions found in various places
thoughout Photoshop. Buttons for menu
commands, keyboard shorcuts, and pop-up/drop-
down menus from various other panels can be
found here. The purpose of the Control module is
to provide one-click access to these functions. The
border colors help group buttons with similar
function together and can be dimmed using the
slider in the panel's settngs. Many of the buttons
are self-explanatory, but rolling the mouse over
any button displays its function in the Help window
at the bottom of the panel. This Help window is
especially useful when first starting to use this
module in order to learn the functions of the new
icon buttons. Their purpose and function is clearly
displayed in this window. When there is an active
selection, an animated black and white active
selecton indicator displays at the top of the panel. There is information on each
button below (the color refers to the button's border color).
Cyan buttons make documents available.

Open−Opens the dialog for opening an existing image.
New document−Opens a dialog for creating a new document.
Black brush/white brush buttons−These buttons select the Brush tool and set the
foreground to that button's color−black or white. The background is set to the
opposite color. There is a lot of mask-painting that happens with either black or
white paint when developing an image in Photoshop. These buttons provide a quick
way to choose the desired paint color without clicking back and forth using the "D"
and "X" keys.
Color brush−This button selects the Brush tool and opens the Photoshop Color
Picker so the user can select their desired color, usually by clicking somewhere on
the image. The foreground and background colors are set to the selected color.
The Color brush can be used to paint color on different layers.
Gray brush−This button selects the Brush tool and sets the foreground and
background colors to 50% gray. The gray brush is a precision eraser for pixel
layers set to Soft Light, Hard Light, or Overlay blending modes. For layers with
these blending modes, 50% gray is transparent. So painting this "color" on such a
layer essentially creates transparency and reveals the contents of the layers below.
The Gray brush can be used to undo or refine layer painting procedures, like
burning and dodging.

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Yellow buttons determine how the image is

displayed by Photoshop.
Fit−Fits the image in the existing image window
space.
100%−Displays the image at actual pixels.
Plus sign (+)−Zooms-in
Minus sign(-)− Zooms out
Purple buttons are some miscellaneous functions.

These actions need to be allowed by Photoshop in
order for the buttons to work. If nothing happens
when a button is clicked it means that Photoshop
cannot perform the action. Example: A Gaussian
Blur is not possible on an adjusment layer without
a layer mask.
Blur−Opens the Gaussian blur dialog window.
Fill−Opens the Fill dialog window.
Stroke−If there is an active selection, opens the
Stroke dialog window.
ACR−Opens the dialog for the Camera Raw filter. This filter only works on a pixel
layer. If the button is clicked when a non-pixel layer is the active layer, a pixel
layer is automatically created at the top of the layer stack and the contents of the
other layers are merged into the new layer (merge visible) so that the filter can be
opened.
Orange buttons affect the dimensions or resolution of the image and/or are useful
in preparing an image for printing.
Canvas−Opens the Canvas Size dialog window.
Dup Image−Creates a duplicate of the current image.
Flatten−Flattens the layers of the active image, often to facilitate resizing and
sharpening.
Size−Opens the Image Size dialog so the image can be resized to the desired
output size and resolution.
Blue buttons change the blending mode of the active layer. The button name
determines the blending mode. If more than one layer is selected, only the
blending mode of the topmost layer is changed.
Magenta buttons create adjustment layers. In the CC version of the panel, the icon
on the button matches Photoshop's adjustment layer icon. If there is an active
selection (like a luminosity selection) when one of these buttons is clicked, that
selection is incorporated into the layer mask for the adjustment layer created. Only
adjustment layers permitted by Photoshop in the current color mode of the image
can be created. For example, an image in Lab color mode cannot have a Selective
Color adjustment layer created for it because Photoshop does not allow this.

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Green buttons are generally associated with operations performed on layers in the
Layers panel. These are icons in the CC V5 panel and words in CS6 panel.
New Layer−Creates a new, empty pixel layer at the top of the layer stack.
Merge Visible−Merges the current active layers into a new pixel layer. It's often a
good idea to use the New Layer button first to make a blank pixel layer at the top
of the layer stack to insure that the Merge Visible button creates the merged layer
in a position where it will not be affected by any adjustment layers above it.
Invert−Inverts the contents of the layer. On adjustment layers and group layers,
the contents of the layer mask are inverted. On pixel layers without a layer mask,
the pixels are inverted. On pixel layers with a layer mask, the element contained
within the layer's framing brackets is inverted.
Dup Layer−Duplicates the active layer.
Smart Object−Turns a pixel layer into a smart object. If the button is clicked when
a non-pixel layer is active, such as an adjustment layer or type layer, a pixel layer
is automatically created and the contents of the currently active layers are merged
into this layer (merge visible). Then the new layer is made into a smart object.
Group−Puts the selected layer or layers into a group. More than one layer can be
selected to be included in the group.
Delete Layer−Deletes the active layer. This is a particularly useful button for
experimentation. If an experiment doesn't work, click the Delete Layer button and
try something else. If multiple layers are selected they are deleted all at once.
Burn−Creates a "Burn" pixel layer set to Soft Light blending mode for painting black
to darken image contents below the layer. Once the layer is created this action
also selects the Brush tool and changes the foreground color to black in preparation
for burning.
Dodge−Creates a "Dodge" pixel layer set to Overlay blending mode for painting
white to lighten the contents below the layer. Once the layer is created this action
also selects the Brush tool and changes the foreground color to white in anticipation
of dodging.

- 15 -
White buttons (The first two buttons listed below have

magenta borders on the CS6 panel)
+/- Layer Mask−Removes a layer mask if one is present
on the active layer and adds a layer mask if there is none.
If there is an active selection when a layer mask is
created, the selection is incorporated into the layer mask.
+/- Clip−Turns the selected layer into a clipping mask for
the previous layer. Clicking the button a second time
releases the clip.
Undo−Steps back sequentially through the Photoshop
history
Redo−Steps forward through the Photoshop history.
Red buttons are associated with selections, masks, and

the Channels panel.
View mode−This button only works when there is an
active selection (the active selection indicator at the top
should be on and animated on the CC panel). Clicking
this button shows a grayscale mask of the active
selection. It also opens a Levels adjustment dialog window that can be used to
modify this mask. Clicking the OK button in the Levels dialog turns the current
mask back into an active selection.
+/- Select−This i button toggles between Photoshop's Deselect and Reselect
commands.
S&M (Select & Mask)−In Photoshop CC 2015.5, this button opens the "Select and
Mask" dialog. In Photoshop CC 2015 and earlier, this button opens the Refine Edge
dialog box if there is an active selection or opens the Refine Mask dialog if there is a
layer mask on the active layer.
Save−Opens the Save Selection dialog window so the active selection can be saved
as a channel mask on the Channels panel.
+/- Marching ants−A toggle button to turn the selection borders (marching ants)
off and on.
Inverse−Inverts the current selection.
Clear Channels−Removes non-color channel masks (alpha channels) from the
Channels panel.
X button−Only removes masks from the Channels panel that were generated from
other modules involved in the Luminosity Lock/Rapid Mask process.
© button−Opens a script alert window with copyright information.
TK button−Opens a tab in the default browser where CC users can get additional
information about the panel and luminosity masks. Sean Bagshaw's vides are also
available from this URL.
THE BASIC MODULE

NOTE: The Basic module is a free module. Users of the V5 panel may have
downloaded, installed, and used it previously. Information about this module is
included here, but it is not included in the V5 download. It can be obtained here:
http://goodlight.us/writing/basic-panel/basic-panel-1.html

- 16 -
The Basic module is an easy way to get started using

luminosity masks. It has three main sections−Curves,
Levels, and Channels. Each section has the same button
names to generate the same luminosity masks, but for
different purposes. The different series of luminosity
masks-Lights, Midtones, and Darks−are designate by
their first letter−L, M, and D−to save space.
The buttons in the Curves section create a Curves

adjustment layer with a layer mask that matches the
name of the button. For example, the Curves L2 button
creates a Curves adjustment layer with a Lights-2
luminosity mask as the layer mask.
The Levels buttons do the same thing except they create

a Levels adjustment layer instead of a Curves adjustment
layer. So a D3 Levels button creates a new Levels
adjustment layer with a Darks-3 luminosity mask as the
layer mask.
With both the Curves and Levels buttons, it's still up to the user to make the
desired adjustment to the adjustment layer. The buttons simply take care of the
task of creating the adjustment layer with the luminosity layer mask. The user's
adjustment is still needed to create an effect that is filtered through the luminosity
mask.
The Channels buttons work a little differently. The single mask buttons (L1 through
L5, for example) generate the designated luminosity mask on the Channels panel
AND also create an active selection of that mask. As a result, there are usually
selection borders (marching ants) that appear after clicking one of the Channels
buttons, and the active selection indicator at the top of the panel turns on. Again,
it will be up to the user to determine what to do with the selection. Creating a new
layer mask or painting through the active selection are probably the most common
uses. (NOTE: The Basic Module uses 16-bit calculations to produce 16-bit masks,
but if the mask is loaded as a selection, the selection is 8-bit by default. This isn't a
big issue since these first generation selections from a 16-bit mask are almost
identical to the mask itself.)
The bottom two buttons on this module do what they say. The button on the left
generates all the standard luminosity masks of all series (Lights, Darks, and
Midtones) on the Channels panel. This can be useful for evaluating and selecting
which mask to use. However, that many masks would noticeably increase file size
if they were saved with the image, so the "Clear Channels" button on the bottom
right removes all non-composite/non-component channels from the Channels panel.
Below these buttons is the rollover Help area. Simply rollover any button on the
Basic module to see a brief description of what it does appear in this window.
Clicking the Help box opens the settings window where module color and language
can be changed.
- 17 -
LUMINOSITY LOCK/RAPID MASK
Three modules in the V5 panel (Intro, RapidMask, and LayerMask) incorporate the
new Luminosity Lock/Rapid Mask method for generating luminosity masks. This
section will review the underpinning concepts that make this approach possible.
There are several principles involved. The first has to do with the fact that there is
often a rate-limiting step in complex Photoshop actions such as luminosity mask
creation. The rate-limiting step is the slowest step in the process. No matter how
short the other steps are or how efficiently the entire action is executed, the speed
at which the entire action can be completed is governed to a large degree by the
time needed to complete the rate-limiting step. If this rate-limiting step can be
isolated and its results saved, then future actions that rely on the rate-limiting step
can run faster. In the V5 panel, Luminosity Lock separates out the rate-limiting
step by saving the results on the Channels panel in a channel called "Lum Lock."
The next time the result of the rate-limiting step is needed, it's no longer necessary
to actually perform the step. The computer can simply access the data in the "Lum
Lock" channel and use what's already been saved there.
ALL luminosity masks have the SAME rate-limiting step. All Darks-series, Lights-
series, Midtones, zone, and even the old fashioned subtracted masks have their
creation speed restrained by the same rate-limiting step. So once the "Lum Lock"
channel is available, ALL subsequent masks can start with it. The overall speed of
mask creation is then greatly improved since the
slow, rate-limiting step has essentially been
eliminated.
With the V5 panel, new masks generated using

the information stored in the "Lum Lock" channel
are saved in another new channel called "Rapid
Mask," which is also placed on the Channels
panel. It is this "Rapid Mask" channel that is
presented to the user for viewing on the monitor.
The "Rapid Mask" channel, because it can now be
produced so rapidly, can also be exchanged very
rapidly. This is what happens when the user
clicks the different buttons to create luminosity
masks on the V5 modules. The computer loads
the "Lum Lock" channel data, performs additional
calculations, updates the "Rapid Mask" channel
with the new results, and shows this updated
mask to the user. As a result, ALL luminosity
masks can be created and displayed very quickly
once the "Lum Lock" channel is in place. The user
can flip through and view different luminosity
masks almost as fast as they can click spectrum
buttons.

- 18 -
Another important principle that comes from using Luminosity Lock/Rapid Mask in
the V5 panel involves extending the tonal feathering of luminosity masks to
additional pixel-level values. Luminosity masks are noted for their tonal feathering.
It's what provides the perfect blending that is the hallmark of these masks. Tonal
feathering occurs at the pixel level of the image. For luminosity masks, tonal
feathering happens when pixels that have similar luminosity values display as
similar shades of gray in the mask. In this way, a continuous tone image gives rise
to a continuous tone grayscale mask which in turn insures perfect blending of
adjustment through that mask into the image. Pixel-level luminosity, however, is
NOT the only the only pixel-level parameter that can be tonally feathered via a
mask. Any pixel-level value that can be measured by Photoshop can have its
values feathered across the image in a continuous-tone grayscale mask. For
example, the Red, Green, and Blue component color channels all have specific
pixel-level values that differ from the luminosity value of the pixel. Extracting a
component color value from a pixel and creating a grayscale mask that depicts the
different values across all pixels in the image results in the Red, Green, and Blue
channels in Photoshop. The V5 panel can luminosity-lock the pixel-level values of
any of these component channels, and once that's done, quickly generate any
Lights, Darks, Midtones, or zone equivalent Rapid Mask based on the data locked in
the "Lum Lock" channel. So now there can be a Zone 4 Blue channel mask, or a
Midtones-3 Green channel mask, or a Darks-4 Red channel mask (which would be a
negative of the Red channel). The V5 panel makes the whole spectrum of
traditional luminosity masks available in ALL the component channels (including Lab
component channels). As a result, the spectrum of component color masks is
greatly expanded in the V5 panel.
But the V5 goes even further. Saturation can also be measured at the pixel level of
the image. As such, the image's saturation can be luminosity-locked into the "Lum
Lock" channel and a whole spectrum of saturation masks produced as Rapid Masks
using the same buttons that create luminosity masks. In other words, the V5 panel
treats saturation masks the same as luminosity masks. This is a bit harder to
understand than component color channel masks. Think about it this way. The
Lights-1 mask is a saturation mask for the image where saturated colors are white
(or light gray) and unsaturated colors are black (or dark gray). The inverse of
Lights-1 is Darks-1. The inverse of saturation is vibrance. So the Darks-1
saturation mask is really the vibrance mask for the image where low-saturation
colors are light and high-saturation colors are dark. While the Midtone and Zone
masks for saturation are a bit more complex, just having the ability to make a
Lights-series for saturation and a Darks-series for vibrance means greater control in
creating masks that specifically target saturated or unsaturated colors in the image.
And this leads to the final Luminosity Lock/Rapid Mask principle, and it is this−ANY
continuous tone mask can be luminosity-locked in the "Lum Lock" channel and from
there it can be "spectrum-ized" and displayed as Rapid Masks using the panel's
buttons. The spectrum buttons that create luminosity masks always look for the
"Lum Lock" channel, and if it is present, the results are used to generate that
button's Rapid Mask. So any continuous-tone mask that is saved in the "Lum Lock"
channel becomes the basis for a whole new spectrum of Rapid Masks. This
principle comes into play with Color Range masks. The V5 panel has a button (CR)
- 19 -
that luminosity-locks the output from the Color Range command. There are also
specific buttons that luminosity-lock the results of the specific color ranges from the
Color Range command (R, G, B, C, M, Y corresponding to red, green, blue, cyan,
magenta, and yellow). There is a continuous-tone quality to the masks created
from the Color Range command, and the V5 duplicates this output in the "Lum
Lock" channel. The luminosity-locked Color Range data is then the starting point
for making Rapid Masks using the panel's buttons for the spectrum of luminosity
masks.
That's a lot of information about a very new process. Actually using the V5 will
make many of these concepts quite obvious, but here's a quick review of the
principles:
1. There is a rate-liming step in luminosity mask creation whose result can be

saved in the "Lum Lock' channel. Luminosity masks all have the same rate-limiting
step. So once the output of this rate-limiting step is saved in the "Lum Lock"
channel, it can be repeatedly accessed in order to bypass the slowness previous
seen when creating luminosity masks. The presence of a "Lum Lock" channel
makes the entire spectrum of luminosity masks available as Rapid Masks that can
be quickly viewed and changed by the user.
2. The tonal-feathering concept of luminosity masks applies to any pixel-level
value that can be extracted from Photoshop. These different pixel-level parameters
can be luminosity-locked and spectrum-ized. Component colors and saturation are
examples. They all produce different "Lum Lock" channels, but once this channel is
in place, the full spectrum of Rapid Masks for that pixel-level factor can be
generated.
3. Any continuous-tone mask can be luminosity-locked and spectrum-ized. This
opens up the option to luminosity-lock Color Range masks. Once this is done, the
full spectrum of Rapid Masks based on Color Range can then be generated.
THE INTRO MODULE

The Intro module is meant to be a learning space for
luminosity masks and the new Lum Lock/Rapid Mask process.
The user is able to see luminosity masks as they are created,
can manipulate them to suit their needs, and has access to
multiple ways to use the masks. It's also a great place to
start experimenting with the first Luminosity Lock/Rapid Mask
principle described above. This module makes traditional
luminosity masks, those generated from the Composite RGB
layer or, if the image is in Lab color mode, from the Lightness
channel. In addition to the full spectrum of luminosity masks,
this module also offers Infinity modification of any mask and
a full range of output options. There is a large Help window
at the bottom of the module that displays a help message
when rolling over any button. This module contains extended
Help on all the buttons to provide new users a place to learn
about the new methods in the V5 panel. Clicking the Help

- 20 -
window opens the settings window where the module's language and color
saturation can be changed.
The way to start using the Intro module is to click the

Luminosity Lock button at the top. This produces two new
masks on the Channels panel −"Lum Lock" and "Rapid
Mask." The Lum Lock channel locks in the luminosity of
the current state of the image so it can be reused to
quickly to generate Rapid Masks of any luminosity mask in
the tonal spectrum in the future. The first Rapid Mask
generated defaults to the Lights-1 mask of the image and
this is displayed for the user's evaluation.
Once the "Lum Lock" channel has been created, any of the
other buttons (Darks/Lights/Midtones/Zone/Pick buttons)
can be clicked to display a new mask. The current mask
the user is viewing is replaced with the new mask
matching the button's name. So the user can quickly
evaluate any mask in the tonal spectrum simply by
clicking that mask's button to see the new Rapid Mask.
The Pick button opens the Color Picker and allows the user
to choose a tone from the image. Based on the user's selection, the module
generates a zone mask that most closely matches the chosen tone. The History
panel keeps track of all masks generated, so it's possible to check the History to
see which zone mask was selected.
The Infinity (∞) button opens a Levels adjustment window. The Levels adjustment
allows the brightness and contrast of the displayed mask to be altered to better
match what is needed for the intended use of the mask. So any Rapid Mask is
really just a starting point, a preset that can always be "infinitized" to better match
what the user needs. Clicking the OK button in the Levels dialog updates the
"Rapid Mask" channel to the newly infinitized version of the previous mask and
shows it to the user.
While using the Intro module, the user will generally be focused on the masks as
they are displayed for evaluation. However, they can return to viewing the image
at any time by clicking the Image button. They can also switch back to viewing the
Rapid Mask by clicking the Mask button.
Once the user has decided that a particular mask they see on their screen is what
they want, the yellow-border buttons at the bottom provide output options. There
are five choices:
1. Adjust−This button provides a pop-up menu of adjustment layers. Clicking one

creates that adjustment layer with the current Rapid Mask as the layer mask. This
mask filters the adjustment to the pixels defined by the mask. The user still needs
to use the Properties panel to make their desired adjustment to that layer.

- 21 -
2. Select−This button loads the current Rapid Mask as an

active selection. This selection will generally be used for
such things as luminosity painting (burning/dodging
through a luminosity selection) or mask painting.
3. Channel−This button opens the Save Channel dialog

window. The current Rapid Mask is duplicated on the
Channels panel and the user can give it a new name.
Since the Rapid Mask is frequently changed using the
module's buttons, this is a way to save a particular Rapid
Mask for future use.
4. Pixels−This button creates a pixel layer on the Layers

panel of the current Rapid Mask. This can be useful for
creating unique black and white images or other
enhancement techniques. (NOTE: Output using the Pixels
button in Lab color mode requires the use of an
intermediate selection to transfer the "Rapid Mask" channel
to the pixel layer. This is the one case where the 16-bit
workflow gets interrupted by an 8-bit selection. Pixel output in RGB color mode
maintains 16-bit workflow.)
5. Apply−This button applies the current Rapid Mask as a layer mask to the current
active layer on the Layers panel. If the active layer already has a layer mask, it is
replaced by the current Rapid Mask.
The "Lum Lock" and "Rapid Mask" channels remain on the Channels panel after the
current Rapid Mask has been output using an output button. Because of this, the
same Rapid Mask can be used repeatedly with different output buttons. For
example, the Rapid Mask could be saved as a new channel using the Channel
button and then could also be applied as a layer mask using the Apply button. The
output buttons actually NEED the "Rapid mask" channel to work. Even if the user is
not viewing the Rapid Mask when an output button is clicked, the "Rapid Mask"
channel is sought by the action and the mask is used to complete the output
operation defined by the button. The output buttons even remind the user that a
Rapid Mask is necessary to complete the output task if one is not found.
It's important to keep in mind that the speed of Intro module to generate masks
comes from the fact that the rate-limiting step in the process is saved and accessed
from the "Lum Lock" channel. As the image progresses, the data in the "Lum Lock"
channel gets stale and no longer accurately reflects the current luminosity in the
image. If additional luminosity masks are needed, it's a good idea to refresh the
"Lum Lock" channel from time to time by clicking the Luminosity Lock button again.
This updates the "Lum Lock" channel with information from the current state of the
image and displays a new Lights-1 Rapid Mask using the updated luminosity.
For those who like working with series of masks on the Channels panel, the +/-
keys create them there for either the Darks- or Lights-series. The first click of the
+/- button creates the series on the Channels panel and the second click removes
- 22 -
them. Consider, however, that the Luminosity Lock/Rapid Mask process essentially
replaces the need to use these buttons. It's almost as quick to simply click the
different buttons on the Intro module to see the same masks displayed on the
monitor that the +/- buttons generate on the Channels panel.
The X button cleans the Channels panel of all masks that were generated using the
module ("Lum Lock," "Rapid Mask," Lights-series, Darks-series). Masks specifically
saved by the user with a new name are not removed.
The last thing to mention about the Intro module is that the spectrum buttons are
smart enough to know that they need a "Lum Lock" channel to function properly. If
the user has not previously clicked the Luminosity Lock button to create the
required "Lum Lock" channel, the spectrum button does it and then proceeds to
generate the button's designated mask as the Rapid Mask. However, the spectrum
buttons never refresh the "Lum Lock" channel. Only the Luminosity Lock button
does this.
THE RAPIDMASK MODULE

All the principles of Luminosity Lock/Rapid Mask
discussed previously come together in the RapidMask
module. This includes luminosity-locking the rate-
limiting step into the "Lum Lock" channel, using this
channel to quickly generate a spectrum of masks,
utilizing different pixel-level parameters as a starting
point for spectrum-izing masks, and working with Color
Range masks. There are some additional features as
well. The RapidMask module is essentially a "unified
field theory" for pixel-based masks. It extends
luminosity mask concepts to a broad range of data that
can be extracted from image pixels. In most respects,
the RapidMask module simply expands on what the
Intro module can do, but the expansion is quite
significant. The RapidMask module has more channels
to choose from as a starting point for mask-making,
offers a wider array of mask modification options, and
incorporates all the saturation/vibrance functions of the
previous V4 panel into just a couple buttons. It's
inclusive, smart, fast, and compact.
Like with the Intro module, the place to start using the RapidMask module is at the
top. The Composite button does exactly the same thing as the Luminosity Lock
button on the Intro module−it locks in the luminosity of the composite RGB channel
(or Lightness channel in Lab) and creates an initial Lights-1 "Rapid Mask" channel,
which is shown on-screen. With the RapidMask module, however, luminosity-
locking the Composite layer is just the beginning. All the component color channels
in either RGB or Lab color mode can be luminosity-locked, as can saturation (SAT
button), any Color Range mask (CR button), or designated Color Range masks that

- 23 -
target specific colors (R, G, B, C, M, Y). So instead of working with a only a

spectrum of luminosity masks generated from the composite color channel, the
RapidMask module allows the user to lock in the "luminosity" of different types of
Photoshop data and choose what works best for a particular image or in a particular
development situation. After clicking any of the Luminosity Lock buttons, the user
is always presented with the Lights-1 equivalent mask of that data for evaluation
and additional decision making.
Once the "luminosity" (it's in quotation marks since it

might not even be luminosity data depending on what the
user has chosen to luminosity-lock) of a particular pixel-
level data group has been locked into the "Lum Lock"
channel, the spectrum buttons can create Lights, Darks,
Midtones, and zone masks starting from that data. Entire
spectrums of Color Range masks, saturation masks, or
component color channel masks are quickly available as a
result. The Pick button and the +/- buttons are also
connected to the luminosity-locked data. The Pick button
picks a zone mask of the same type of data locked into the
"Lum Lock" channel. A "Blue" zone mask is created if the
"Blue" channel data has be luminosity-locked. The +/-
buttons also make series of masks on the Channels panel
specific to what's been locked into the "Lum Lock" channel.
A series of saturation masks are created on the Channels
panel if saturation has been luminosity-locked. In other
words, all the spectrum buttons work specifically with the
data that's been captured in the "Lum Lock" channel, and
with the RapidMask module this is no longer limited to just image luminosity.
Different color channels and different pixel-level values can be luminosity-locked,
and the module keeps track of this and makes an appropriately corresponding mask
Some of the masks created from these complete spectrums of different data sets
will be surprising and not obviously useful. Others, however, will be able to target
parts of the image in ways that was previously not possible and may end up being
very helpful.
A couple of things to note. The Pick button is inactive if a Color Range mask has
been luminosity-locked into the "Lum Lock" channel. The Pick button utilizes pixel
data from Photoshop's Color Picker. Since no pixel data is available from the Color
Picker specifically for Color Range masks, the module cannot extract the needed
value from the Color Picker to make a matching zone mask using the Pick button.
Also, more information on how to use the SAT and Paint buttons is found further
down in this PDF.
Beyond creating a significantly larger array of masks, the RapidMask module allows
any mask being viewed as a Rapid Mask to be modified in real-time with the red-
border buttons near the bottom of the module. The options are as follows:
1. Infinity (∞) button−Opens a Levels adjustment dialog window to allow the

darks, midtones and highlights of the displayed mask to be altered to better match
- 24 -
what is needed for the intended use of the mask. Clicking the OK button in the
Levels dialog updates the Rapid Mask to the newly infinitized version of the
previous mask.
2. The A button−Performs an auto-Levels adjustment on the Rapid Mask. The

brightest pixels in the mask become white and the darkest pixels black. The A
button is a way to normalize any mask so that it covers the entire grayscale from
black to white. This is particularly useful when working with zone masks that tend
to be dark gray overall. The A button makes them black and white which facilitates
evaluation and further modification.
3. Invert button−Inverts the Rapid Mask (creates a

negative of it).
4. Focus button−Decreases the black-to-white

transition across the selection border. This is way to
decrease the overly broad feathering that
sometimes happens with luminosity masks. The
Focus modification keeps the selection borders
(marching ants) the same if the mask were loaded
as a selection, but feathering across that border is
narrowed so an adjustment through the selection
still blends into the image but no longer extends to
tones where the affect is not wanted. For a really
dark mask, like Midtones-1, a good way to use the
Focus button is to first click the A button to
normalize the mask to a black-to-white grayscale
mask or to use the Infinity (∞) button to lighten it.
Then click the Focus button to make dark gray pixels in the mask darker and light
gray pixels lighter (which is what decreased feathering looks like in a mask).
Generally though, don't get too aggressive with the Focus button. Some feathering
is usually desirable with these tonal masks in order to insure proper blending of
adjustments into the image. Usually one or two clicks of the Focus button is
sufficient to localize the feathering to the appropriate pixels.
5. Blur button−Opens the Gaussian Blur dialog window allowing the user to blur
the Rapid Mask as desired.
6. Expand button−Adds the Rapid Mask to itself expanding the quantity and degree
of pixel selection in the mask.
7. Contract button−Intersects the Rapid Mask with itself. Mask intersection was
the traditional way the Lights- and Darks-series of luminosity masks were created
and the Contract button simulates this process using calculations. For a Lights-1
Rapid Mask, clicking the Contract button produces a Lights-2 Rapid Mask. Clicking
the Contract button again produces a Lights-3 Rapid mask.
Normally, when using the RapidMask module, the user will be viewing the Rapid
Mask on their monitor and choosing the right one and modifying it to meet their
- 25 -
needs. The image can be viewed instead of the mask at any time by clicking the
green-border Image button. The Mask button below the Image button switches
back to viewing the Rapid Mask.
Once the Rapid Mask is what the user wants, the

yellow-border buttons at the bottom of the module
provide a variety of output options. These work
exactly the same as the output buttons in the Intro
Module.
1. Adjust−This button provides a pop-up menu of

adjustment layers. Clicking one creates that
adjustment layer with the current Rapid Mask as the
layer mask. This mask filters the adjustment to the
pixels defined by the mask. The user still needs to use
the Properties panel to make their desired adjustment
to that layer.
2. Select−This button loads the current Rapid Mask as

an active selection. This selection will generally be
used for such things as luminosity painting
(burning/dodging through a luminosity selection) or
mask painting.
3. Channel−This button opens the Save Channel dialog window. The current Rapid
Mask is duplicated on the Channels panel and the user can give it a new name.
Since the Rapid Mask is frequently changed using the module's buttons, this is a
way to save a particular Rapid Mask for future use.
4. Pixels−This button creates a pixel layer on the Layers panel of the current Rapid
Mask. This can be useful for creating unique black and white images or other
enhancement techniques. (NOTE: Output using the Pixels button in Lab color
mode requires the use of an intermediate selection to transfer the "Rapid Mask"
channel to the pixel layer. This is the one case where the 16-bit workflow gets
interrupted by an 8-bit selection. Pixel output in RGB color mode maintains 16-bit
workflow.)
5. Apply−This button applies the current Rapid Mask as a layer mask to the current
active layer on the Layers panel. If the active layer already has a layer mask, it is
replaced by the current Rapid Mask.
Like with the other modules, there is button rollover Help at the bottom of the
RapidMask module. A mouse rollover of any buttons shows what the button does in
this box. Clicking the Help window opens the settings window where language and
module color can be changed. An active selection indicator comes on at the top of
the module when there is an active selection, even if there are no marching ants.
The "Auto-Apply" checkbox is described in the next section.

- 26 -
THE LAYERMASK MODULE

The Layer Mask module is very similar to the RapidMask module in its layout but
has one very important difference: All masks created by the LayerMask module are
automatically applied to the active layer as a layer mask. The user doesn't look at
an actual mask in order to decide which mask works best on a particular layer.
Instead they look at the image while the LayerMask module applies different masks
to the active layer. Based on how the image looks, the user decides the best mask
for the layer. It's an image-based approach for choosing the correct luminosity
mask.
NOTE: Late in the development process for the V5 panel, I realized that the entire
functionality of the LayerMask module could actually be coded into the RapidMask
module, at least in the CC version. The "Auto-Apply" checkbox on the RapidMask
module does this. Checking this box changes the buttons of the RapidMask panel
to function exactly like the buttons on the LayerMask panel as described below.
With the "Auto-Apply" checkbox checked, masks generated by the module are
automatically applied as a layer mask to the active layer. Also, the modification
buttons affect this layer mask, not the "Rapid Mask" on the Channels panel. Once
the LayerMask concept is understood, CC users will likely appreciate having this
slightly easier method to access LayerMask functionality. The CS6 version of the
panel still requires two separate modules since this type of advanced coding is not
possible in the CS6 architecture.
=
When using the LayerMask module, the Luminosity Lock/Rapid Mask process is still
operating in the background and the "Lum Lock" and "Rapid Mask" channels are
present on the Channels panel. But the user never sees a mask unless they
actually click on the green-bordered Mask button near the bottom of the module.
Instead, the "Rapid Mask" channel that is created through initially luminosity-
locking some type of image data, or by clicking a spectrum button, or by modifying
- 27 -
a mask with a modification button, is instantly applied as a layer mask to the

current active layer on the Layers panel. The user sees the effect on the image
produced by masking the layer with the different masks instead of seeing the mask
itself.
A simple way to see how the LayerMask module works is to use it to decide which
mask in the Lights-series works best on an adjustment layer. Create an
adjustment layer with some adjustment, and then click the Composite button on
the LayerMask module to see a Lights-1 luminosity mask applied as a layer mask to
this layer. Then click the Lights-2 spectrum button to exchange the Lights-1 mask
with a Lights-2 mask to see how the image changes when the layer mask is
changed. Do the same with Lights-3, Lights-4, and Lights-5. Doing this makes it
obvious how evaluating the image can actually be used to choose the correct mask.
That's a very simple, straightforward example. The LayerMask module allows much
more creative use of masks. The user can use it to create layer masks from
component color channels, pixel saturation, or Photoshop's Color Range command.
All these different data sets can be spectrum-ized and modified using the buttons
on the LayerMask panel. Some masks will work, some won't. Regardless, the
module makes it easy to experiment with different masks to find the one that
makes the image look its best while actually looking at the image itself.
One interesting thing that can be accomplished with the

LayerMask module (and the RapidMask module as well) is to
take advantage of "historical" luminosity-locking.
Remember, the "Lum Lock" channel locks in the luminosity
for a particular state of the image. Once it's locked in, all
the spectrum buttons work from the "Lum Lock" channel's
data. So it's possible to create an adjustment layer, turn off
the layer's visibility, luminosity-lock the image without the
adjustment, turn the adjustment layer back on, and then
create layer masks on the new adjustment layer based on
data locked in essentially before the layer existed. The
Orton Effect is a type of adjustment where historical
luminosity-locking has practical use. The Orton Effect
makes a rather strong change to the image that often works
better if confined to the light or midtone areas of the image
BEFORE the Orton Effect was created. So do the following:
1. Create the Orton Effect on a new layer or group

2. Turn off the visibility of that layer or group but keep the group as the active
layer.
3. Luminosity-lock the image using one of the top buttons on the LayerMask
module. This adds a Lights-1 layer mask of that data set to the Orton Effect layer
even thought its visibility is turned off.
4. Turn the Orton Effect's layer visibility back on to see the effect of adding the
Lights-1 mask

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5. Now use the spectrum buttons on the LayerMask module to apply different
Lights-series luminosity masks to the Orton Effect layer to find the one that works
best.
This is one way of taking advantage of historical luminosity-locking. Another way

to achieve the same end would be to use the RapidMask module to luminosity-lock
the image BEFORE running the Orton Effect. This locks in the luminosity at that
stage of image development so it is available to the LayerMask module AFTER the
Orton Effect is created. Either way, it's possible to create masks using image data
from a previous state of the image to control the masks generated in a newer state
of the image. This also points out how the RapidMask and LayerMask modules are
connected through the Luminosity Lock/Rapid Mask process. The "Lum Lock"
channel created by the RapidMask module is automatically used by the spectrum
buttons of the LayerMask module. The buttons to choose a data set at the top of
either module will refresh the "Lum Lock" channel, and the spectrum buttons of
either panel always use the "Lum Lock" channel if it's present on the Channels
panel.
The red-border modification buttons on the LayerMask module work directly on the
layer mask of the active layer. For example, when the Infinity (∞) button opens a
Levels adjustment window the user sees the changes in the image in real-time as
they move the sliders in the Levels dialog. All red-border modification buttons on
the LayerMask module actually need a layer mask on the active layer to work.
These buttons are not modifying the Rapid Mask the way they do in the RapidMask
module. They directly modify the layer mask, and, if there is no layer mask, there
will be an alert that states that a layer mask is needed when these buttons are
clicked.
There are only two yellow-border output buttons on the LayerMask module.
Selection loads the current layer mask as an active selection and Channel saves the
current layer mask as an alpha channel on the Channels panel. Adjust, Apply, and
Pixels output buttons are not applicable in the LayerMask interface since the user is
not actually viewing a luminosity mask.
The Z and X buttons are present on the on the LayerMask module, but not the
RapidMask module. Z toggles undo and redo of the current history step and X
cleans the Channels panel of any masks created by the LayerMask or RapidMask
modules. The Z and X buttons were deleted later in the development of the
RapidMask module to allow more space for different languages on the buttons.
The familiar rollover Help window is at the bottom of the module. Clicking it opens
the module's settings to change module color and language. The active selection
indicator is also embedded in the top of the module and turns on when there is an
active selection.

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THE ACTIONS MODULE

Since saturation and vibrance masks were moved out of the
Actions module in the V5 panel (and placed in the RapidMask
module), there is space for several new actions. Like with
luminosity masks, most of these actions should be seen as a
starting point for a creative effort and not as a one-click
developing solution. Once these actions finish running, the
user will generally want to tailor the output to better fit their
creative intent. This may include adding a luminosity mask
to the output layer or group, changing layer opacity, painting
on a layer mask to restrict the effect to specific parts of the
image, or running additional actions. It would be pointless
to try and program buttons that produce an ideal result
every time. That's simply not possible since all images are
different. Instead, the buttons on the Actions module
generally produce an exaggerated effect that the user can
customize to match what's happening in the image that is
being developed and based on what's needed to reach their
creative goal.
The rollover Help window at the bottom of the Actions module is a bit larger for this
module in order to provide more extensive information and to reflect the fact that
some of the buttons execute more complex processes. The module's settings are
accessed by clicking the Help window. The active selection indicator is also
embedded in top of this module.
ACTIONS Section
The green ACTIONS section of the Actions module has some common actions that
can be useful when developing a variety images.
Vignette−This button creates a strong oval/circular vignette for the image. The
action stops to allow the user to choose the blur radius for the vignette to facilitate
the best blending of the vignette into the image. The resulting vignette will likely
be stronger than what is desired. Lowering the vignette layer opacity or painting
black on the white part of the mask will dial back the vignette to what works best
for the image.
Clarity−This uses Photoshop's High Pass filter to increase edge contrast in the
image. However, it does so in a way that does not change color saturation. The V4
panel had a "Tonal Clarity" option where Clarity was combined with luminosity
masks to restrict the effect to specific tonal ranges in the image. The V5 panel now
has the LayerMask module which allows the user to quickly try out different
luminosity masks as layer masks on the Clarity layer to create their own
customized "tonal clarity" for the image. The Clarity action stops to allow the user
to select a radius value. Choose a lower radius value (5 to 15 pixels) if the effect is
going to target light tones in the image (via the later addition of a Lights-series
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layer mask) or to enhance fine detail. Choose a higher radius value (30 to 60
pixels) if the effect going to be constrained by a Darks-series mask or for more
artistic effects. As always, some experimentation is useful in deciding how much
clarity to add and which mask works best.
+/- Dust−This button helps find sensor dust in

smooth areas of the image. This is a toggle button
that actually does two different things. Clicking this
button the first time creates several layers at the top
of the Layers panel. The image is changed to black
and white via the "Desaturate For Dust" layer. This
monochrome view has its contrast enhanced via the
"Amplify Dust" Levels adjustment layer above it.
Below these two layers is a blank pixel layer called
"Heal/Clone" where the actual dust removal occurs.
The action activates the Spot Healing Brush and it's
only necessary to click on the sensor dust spots on
the image to remove them. (NOTE: "Sample All
Layers" should be checked in the Spot Healing Brush's
options.) Each image is different and it may be
necessary to adjust the sliders in the Properties panel
of the "Amplify Dust" layer to better see sensor dust.
Once the dust has been removed, click the +/- Dust
button again to remove the "Amplify Dust" and
"Desaturate For Dust" layers since they are no longer
needed. The "Heal/Clone" layer can also be used for cloning instead of healing. To
do this, just change the tool to the Clone Stamp and make sure the tool's
"Samples:" option is set to "Current & Below."
Frequency Separation−This is a interesting option most often used with portrait

photography to even out skin tone and texture. But it can also produce useful and
artistic effects with landscape and other types of photography. This video shows
how it's created and used with portraits: https://phlearn.com/amazing-power-
frequency-separation-retouching-photoshop
The Frequency Separation button creates a "Frequency Separation" group on the

Layers panel containing two layers. The bottom layer, called "Color/Blur," contains
a Gaussian blurred version of the image. The action stops to allow the user to enter
a blur radius. Choose a radius that blurs away some distracting tonal difference in
the image, such as a too-bright highlight, color transition, or even a distracting
element. After clicking OK in the Gaussian Blur dialog, the action continues and
updates the "Texture" layer so that it perfectly counteracts the blur so there is no
noticeable change to the image when the action finishes.
But this is where the fun begins. Frequency separation effectively separates color
and texture so they can be managed independently. Guassian Blur and the Clone
Stamp tool are most common methods for doing this. Here are a few suggestions,
but there are no doubt many more practical and artistic applications for Frequency
Separation.
- 31 -
1) To create more even color transitions, make the "Color/Blur" layer active and
using the Lasso tool with a generous feathering radius select areas with uneven
color. Then Guassian Blur these areas to create the degree of color evenness
desired. The "Texture" layer above maintains texture in these areas; only the
image's color changes.
2) Use the same technique, but use the Lasso to draw around areas of the image
where a bit of Orton-like glow would look good. Again, Gaussian Blur the selected
area, being sure to select the same blur radius that was used when the Frequency
Separation group was created. This creates a subtle color-glow in the selected area
with the original texture being maintained.
3) To make a more dramatic color change, use the Clone Stamp tool. On the
"Color/Blur" layer, Alt-click (Mac: Option-click) on the area whose color is to be
sampled. Then use the Clone Stamp tool to paint this color on the area where the
color change is desired. The color changes to the sampled color (and can be
aligned to the sampled area via the options bar), but the texture remains the same
because it's controlled by the "Texture" layer. Using the Clone Stamp tool at lower
opacity allows the color change to be built up gradually using multiple mouse clicks
(or click-and-drags). This technique can be used to help manage lens flare.
4) To change the texture of an area, use the Clone Stamp tool on the "Texture"
layer with the "Sample:" option set to "Current Layer." This is a particularly
effective technique if the blur radius selected when creating the Frequency
Separation group is sufficiently large to blur away a particularly distracting element
in the image. Then, cloning in new texture similar to the texture surrounding that
item on the "Texture" layer effectively eliminates the element from the image. The
blurred color from the "Color/Blur" layer comes through, and the texture, if
sampled correctly from an adjacent area, matches the surrounding texture.
Lights TP/Darks TP−The Triple Play (TP) is a technique

that uses luminosity masks on adjustment layers to
simultaneously affect brightness, contrast, and detail in an
image. It uses multiple layers, and the user controls the
effect by choosing which layers to make visible. The Triple
Play was originally released in 2011 in Version 1 of the
TKActions panel. It survived in the panel through Version 3
as a series of 36 buttons so that the different variables
(Lights/Darks, Curves/Levels, and pixel blur) could be
controlled by the user. The Version 4 panel did not include
the Triple Play technique. I was personally using it less as I
learned new ways to use luminosity masks. Additionally,
coding those 36 buttons into the V4 panel would have been
a Herculean task. However, the absence of the TP in the
V4 panel prompted emails of dismay from several users
who had developed their own way of using this technique n
in their workflow. I said I would try to bring it back and am
glad to say it's present again in the V5 Actions module. It's
- 32 -
been reduced to just two buttons, Lights TP and Darks TP. The user is prompted
for their preferred blur radius at the start, and then the masked layers are
generated as Curves adjustment layers. There is a 39-page PDF that fully explains
how to use the Triple Play included in the tutorials associated with the panel.
Personally, I see the Triple Play as a historically useful technique but one that is no
longer part of my way for using luminosity masks. For those who found additional
uses for this technique and those who wish to pursue learning about and
experimenting with it, the new Actions module makes it available.
#1, #2, #3, #4, #5, #6 buttons—The number buttons located at the bottom of
the Actions section are programmable buttons. They allow the user to record
actions that then become part of the panel. The actions for these buttons are
located in the "TK-V5-Actions" action set on Photoshop's regular Actions panel
(Window > Actions). If there are repeated steps in a workflow that need to be
done while the module is open, it's advantageous to record the steps as an action
into one of these buttons. Then, simply pressing the button will play the keystrokes
and/or menu commands to execute that maneuver. Initially, pressing a button
gives a pop-up message that describes the reprogramming process. This video by
Sean Bagshaw shows one way to program these buttons:
https://www.youtube.com/watch?v=_XIWCOefqXk.
COLOR Section
The red COLOR section of the Actions module contains a
collection of actions that can alter, enhance, and correct
image color.
Orton Effect−The Orton Effect was originally an in-camera

technique developed by Michael Orton using transparency
film to make photographs look more like paintings:
http://www.michaelortonphotography.com/ortoneffect.html.
Photoshop makes it easy to create a similar effect during
post-processing, and the Orton Effect button offers a
starting point. It creates a degree of blur and color
intensification for the image that provides a nice glow in
many situations. The action stops at the blur step so the
user can enter a Guassian Blur radius that best suits their
image. Photoshop-produced Orton Effects are generally too
strong unless starting with an unusually dull image. So
lowering the Orton Effect group opacity can help moderate
the effect produced by the action. However, a better
alternative is to add a Lights-series luminosity mask to the Orton Effect group layer.
The Orton Effect can over-saturate dark colors sometimes, so confining the effect to
the lighter tones is often beneficial. The LayerMask module makes it easy to try
different Lights-series masks on this final group layer to see what works best. By
using a luminosity mask, layer opacity needs to be adjusted less and the tone-
targeted effect will have greater impact.

- 33 -
Restored Orton−Frequency Separation, discussed above, opens the possibility of

creating blur effects in Photoshop that do not actually blur the image. An image
can be blurred as part of intentionally creating a specific effect and then just the
texture can be restored via frequency separation leaving the blurred color change
intact. This is what happens with the Restored Orton button. The button first
creates the Orton Effect and then it removes just the blur associated with that
effect leaving the enhanced colors. This can be beneficial in situations where image
sharpness is important or where the blur normally associated with the Orton Effect
is too strong. This action stops twice to allow the user to input a Gaussian Blur
pixel radius. The first stop is for the Orton Effect, so choose a value that looks
good for the image. For the second stop, CHOOSE THE SAME VALUE. This insures
that the frequency separation texture layer perfectly captures the texture
associated with the first Gaussian Blur. After the action finishes running, try a
Lights-series luminosity mask on the final group or a change in layer opacity to help
customize the effect for the image.
Color Lum−This is an action for adjusting brightness of different colors. Clicking

this button creates a Black and White adjustment layer set to Luminosity blending
mode. The color sliders in the layer's Properties are initially set so that there is no
change to the image. After the action completes, the user opens the Properties
panel for the Black and White adjustment and uses the sliders to adjust the
brightness of the various color ranges lighter or darker. Even better, the targeted-
adjustment tool can be used to click and drag on the image itself to change the
brightness of the chosen colors. While this is a Black and White adjustment layer,
the image is NOT converted to black and white. The Luminosity blending mode
makes it so that only color luminosity is affected. NOTE: Color Lum only works in
RGB Color mode; it does not work in Lab.
Correct CA−Chromatic aberration (CA) is most often seen

along high contrast edges in the image and is usually best
handled by the RAW convertor initially. Light Room and
Adobe Camera RAW generally do a good job of eliminating
it. The Correct CA button would normally be useful in
situations where obvious chromatic aberration remains
despite attempts to optimize its removal during conversion
of the RAW file. The Correct CA button works simply by
creating a Gaussian Blur that blurs away the unwanted
colored edges. The action creates a new layer in Color
blending mode and stops so the user can zoom in and
choose the optimum pixel radius to create a CA-removing
blur. The blur necessary to remove chromatic aberration
almost always produces undesirable color changes in the
rest of the image. So the action finishes by creating a
black Hide All mask on the new layer and selecting the
Paintbrush tool set to white. When the action is finished,
the user zooms in to the areas with chromatic aberration
and paints white on the mask to selectively reveal the
blurred layer without the chromatic aberration.

- 34 -
Neutralize Cast−This button uses the "Neutralize" option in Photoshop's Match

Color dialog window to create a best guess at the correct color balance for the
image. Since this is a one-click action, the results won't automatically be good or
even expected. Often, however, there is something useful in the outcome, so
lowering layer opacity or applying a luminosity mask using the LayerMask module
can provide a degree of control as to how this action ultimately affects the image.
NOTE: Neutralize Cast only works in RGB Color mode; it does not work in Lab.
Add Color−This action is a technique I learned from a

Ryan Dyar video. It's like burning and dodging except
instead of using black and white paint, color is brushed
onto the image. The action creates a blank pixel layer set
to Soft Light blending mode. The Color Picker opens so the
user can pick a color from the image or the Color Picker
spectrum. The Brush tool is activated and the user paints
the chosen color onto the pixel layer. Because the layer is
set to Soft Light blending mode, if the chosen color is
darker than 50% gray, the painted pixels are darkened. If
it's lighter than 50% gray, the pixels are lightened. But the
color is the really nice feature here. In addition to the
brightness change, the color of the painted pixels also
changes, but in a pleasant way that preserves the image's
underlying textures. It's sort of like adding a Photo Filter to
the image but with the added precision of the Brush tool.
Try painting with a brush opacity of around 20% to start so
that multiple strokes can be used to build up the effect.
Also consider painting through an active luminosity
selection to confine the effect to specific tones.
Color Clone−This button creates a pixel layer set to "Color" blending mode. It is
used for changing color in the image while maintaining the underlying texture. This
is described in detail in the Cloning Color, Retaining Texture tutorial. The basic
technique is to first make the necessary layer by clicking the Color Clone button.
Then select an appropriately sized and feathered brush to match the area to be
painted. Next, Alt-click (Mac: Option-click) on a color to paint with from another
part of the image. This selects the desired color that will be cloned into the mis-
colored area. Painting the new color on the "Color Clone" layer changes the area's
color, but not the underlying texture. It's usually best to start with a low-opacity
brush and slowly build up the effect using multiple brush strokes and multiple color
samples.
Make-It-Glow—This action imparts a glowing quality to the image. It is like a mild

Orton Effect where only the color is blurred but the underlying texture is not. It is
described in the Make-It-Glow tutorial included in the download. The action stops
to allow the user to input a pixel radius for the Gaussian Blur step. A good starting
point is the megapixel count of the image's original capture, i.e. a 24-pixel radius
Gaussian Blur for an image from a camera with a 24-megapixel sensor.

- 35 -
WEB-SHARPENING Section
The blue WEB-SHARPENING section uses an algorithm that
has its origin in this post by Alex Nail:
http://www.alexnail.com/blog/tutorials/resize-and-sharpen-
for-web/. The panel contains several modifications that
appear to be beneficial for most images. The newest
version in the Actions module also has options to allow the
user to further customize how their images are sharpened
for the web and can even batch process entire folders of
images.
In the WEB-SHARPENING section, the user enters a couple

of values. The sharpening action then duplicates the
current image and sharpens it according to the user's
parameters. The image below shows the Layers panel for
the sharpened image. The module remembers what the
user enters as parameter values and these become the
default the next time the Actions module is opened.
The Dimension parameter in the web-sharpening

section is a final dimension of the web-sharpened
image. It is stated in pixels, and the user decides if
it is a vertical or horizontal dimension.
The Opacity parameter is the opacity, in percent (1

to 100), of the "TK Web-Sharpening" group. A
higher value causes the final web-sharpened image
to be sharper. This value can vary depending on
the image. An Opacity setting of 50% is a good
starting point. Images with lots of detail can often
handle a higher Opacity setting. Images that are
grainy or with soft, smooth features might benefit
from a lower value. The user's workflow can also
affect the Opacity setting. If significant sharpening
has already been added during RAW file conversion,
for example, then a lower Opacity setting might
work better.
The Extra Sharp parameter provides a checkbox that, when checked, disables the
layer mask on the Sharpen #2 layer. This mask has the effect of confining
sharpening to darker values in the image in order to prevent light halos from
appearing in the sharpened image. For highly detailed images, though, these halos
might not be a problem, and disabling the mask by checking Extra Sharp might
look OK. However, disabling this mask can cause the web-sharpened image to look
a bit "crispy" sometimes. The mask can always be re-enabled with a Shift-click on
the mask itself in the sharpened version, or the layer or group opacity can be
adjusted to fine-tune the final appearance.

- 36 -
The sRGB parameter is also a checkbox. Checking it means the web-sharpened

image is converted to the sRGB color profile as part of the action. The sRGB profile
is often preferred for images posted on the Internet.
The Action parameter checkbox makes it possible to

automatically play an action after the image has been
sharpened and resized. Checking this box causes the
"Post-Sharpening Action" located in the "TK-V5-
Actions" action set on Photoshop's regular Actions
panel to be played at the end of the sharpening
process. The "TK-V5-Actions" action set installs
automatically when the Actions module is first opened
in Photoshop CC. (CS6 users need to manually install
this action set.) The "Post-Sharpening Action" is blank
when the action set installs. It is up to the user to
record their own steps into the action. Whatever is
recorded will be played after the image is resized and
sharpened if the Action checkbox is checked. As an
example, adding a watermark to the image is a
common task that works when recorded as the "Post-
Sharpening Action." Sean Bagshaw demonstrates how
to create a watermark in this YouTube video:
https://www.youtube.com/watch?v=-GLKpfnW8Q4.
Once the parameters are set, the user clicks the Vertical, Horizontal or Fit button to
run the web-sharpening action. If Vertical is clicked, the Dimension value becomes
the final vertical dimension of the web-sharpened image. With the Horizontal
button, the Dimension value becomes the horizontal dimension of the web-
sharpened image. The Fit button downsizes and sharpens the full-size image so
that the longest final dimension equals the Dimension value. For images in
"landscape" orientation, the Fit button causes the final horizontal dimension to
equal the Dimension value. Images with a "portrait" orientation end up with their
vertical dimension equal to the Dimension value when the Fit button is clicked. For
perfectly square images, both vertical and horizontal dimensions of the web-
sharpened image equal the Dimension value. Regardless of which button is clicked,
the dimensions of the final image are proportional to those in the original image.
The Dimension parameter only applies to one dimension in the image. The other
dimension is automatically resized proportionally.
After the web-sharpening action completes, the user can adjust layer opacity or add
a layer mask to restrict the sharpening to specific areas if desired. The Control
module can also be used to add adjustment layers if there is need to adjust things
like brightness, contrast, color, or saturation.
Once satisfied with the web-sharpened image, clicking the Save for Web button
opens Photoshop's (now legacy) Save for Web dialog window in order to save the
image on the computer's hard drive.

- 37 -
BATCH SHARPENING Section

Another option in the WEB-SHARPENING section is
the Batch button. Clicking it changes the normal
Actions module interface to the BATCH
SHARPENING interface. This interface allows the
user to resize and sharpen an entire folder of
images and then save these images to a different
folder. The user can select similar parameters as
those found in the WEB-SHARPENING section.
The Vertical, Horizontal, and Fit buttons once
again initiate the action to sharpen and resize the
selected images. The All Actions button in the
upper right of this interface restores the normal
green/red/blue interface of the Actions module.
NOTE: Web-sharpening is not intended for print

output. Web-sharpening and print-sharpening are
two very different processes. Web-sharpening,
because it involves significant down-sizing of most
images and display on a single medium (computer
monitor), can be programmed as a series of steps
that work for all images. Print-sharpening, on the other hand, may involve
enlarging or down-sizing the image with output on a variety of different media each
requiring a different sharpening algorithm. While everyone seems to have their
own preferred print-sharpening method, my personal recommendation is Nik
Sharpener Pro. It provides a nice variety of sharpening options, and once the user
finds what works for them on their preferred paper, the same settings can be used
repeatedly with good results. Nik Sharpener Pro is now free:
https://www.google.com/nikcollection/
SATURATION/VIBRANCE
In the V5 panel, saturation and vibrance functions have been moved to the
RapidMask and LayerMask modules. As discussed above, saturation is a pixel-level
parameter. Photoshop can read the saturation of any pixel and display it as a
corresponding grayscale value in a mask. This means it can be luminosity-locked
into the "Lum Lock" channel and from there spectrum-ized using the spectrum
buttons. The resulting saturation Rapid Masks can be further modified using the
modification buttons also found in the RapidMask and LayerMask modules.
While saturation is very different than luminosity, it's also similar in that there are
positive and negative masks associated with both properties. For luminosity,
positive masks are the Lights-series and negative masks are the Darks-series. For
saturation, the positive mask is the saturation mask. This is a mask where the
more saturated the color, the lighter the grayscale tone in the mask. The negative
of saturation is vibrance. So in the same way that a Darks-1 mask is a negative of
a Lights-1 mask, a Vibrance-1 mask is the negative of a Satuartion-1 mask. In a

- 38 -
vibrance mask, the less saturated the color in the image, the lighter the gray value
in the mask. The more saturated the pixel color, the darker the grayscale tone in
the mask. So luminosity has Lights and Darks masks, and saturation has
saturation and vibrance masks.
(NOTE: The V5 panel does NOT use Photoshop's HSB/HSL filter to create saturation
and vibrance masks. The HSB/HSL filter assigns a value of 100% saturation to any
pixel that has a Brightness value less than 100%. This means that many colors
which aren't at all dark are treated as being 100% saturated in saturation masks
generated using the HSB/HSL filter. Adobe surely has a reason for doing this, but it
makes it impossible to separate out saturation in many slightly dark colors where
saturation differences can still be important. The V5 panel uses a different
calculation that creates symmetrical saturation masks in both light and dark colors.
By doing this, dark colors still have a range of saturation values regardless of the
pixel's Brightness value. In other words, the calculation does NOT assign a blanket
saturation value of 100% to pixels with Brightness less than 100% the way the
HSB/HSL filter does, and more useful masks, especially for darker colors, are the
result.)
There are two main ways to use the saturation features in the V5 panel to adjust
image saturation. The first is through Hue/Saturation adjustment layers. Starting
with the RapidMask module, click the SAT button in the Luminosity Lock section to
luminosity-lock the image's saturation into the "Lum Lock" channel. This also
creates the initial "Lights-1" saturation mask. Once
saturation has been luminosity-locked, any of the
spectrum buttons or modification buttons can be used to
update the Rapid Mask the user is viewing.
Saturation masks (the Lights-series for saturation) can be

used to control over-saturated colors in the image. To do
this, find a Rapid Mask using the Lights buttons that
shows white or light gray in the over-saturated colors
that need to be desaturated. Usually one of the Lights
buttons is adequate to make an appropriate saturation
mask. However, saturation values in most images are
generally less than expected, so saturation masks tend to
be quite dark. It might be necessary to use the Expand
or Infinity (∞) modification buttons to create a mask with
the needed light gray values. Once a Rapid Mask
- 39 -
targeting the image's over-saturated colors is available, use the Adjust output
button to generate a Hue/Saturation adjustment layer with that mask applied as a
layer mask. Then go to the Properties panel for this layer and move the Saturation
slider to the left to decrease saturation in either the Master channel or in one of the
color channels in the drop-down menu. The image's over-saturated colors, now
targeted by the layer mask, will have their saturation decreased as a result, and,
because the layer mask is pixel-based and "luminosity-like," the adjustment will
blend perfectly into the rest of the image.
Vibrance can be addressed in a similar manner with the V5 panel except the Darks
buttons will be used to find the correct vibrance mask targeting low-saturation
colors. Most photographic images have a lot of low-saturation colors, so the Darks-
1 mask for vibrance usually has a lot of light gray and white tones. This means
that it is not generally useful for accurately targeting perceptually unsaturated
colors. However, it's easy to try different Darks buttons to further restrict the
vibrance mask to progressively less-saturated colors thereby producing a more
functional mask. Darks-3, 4, or 5 are usually more appropriate. Once found, use
the Adust output button to generate a Hue/Saturation adjustment layer with the
Rapid Mask as the layer mask. Then use the Properties panel to make the
necessary adjustment. For vibrance, the goal is almost always to boost the
saturation of the low-saturated colors, so drag the Saturation slider to the right to
add saturation. The vibrance layer mask will insure that the adjustment targets
unsaturated colors and that the change blends well into the image. It's often
surprising how far the Saturation slider can be pushed to the right when a vibrance
mask is filtering the effect.
By using saturation and vibrance masks on separate Hue/Saturation adjustment

layers it's usually possible to bring a better saturation balance to the image and
often to creatively improve it.
NOTE: Using Hue/Saturation layers with saturation and vibrance masks has two
advantages over using Photoshop's Vibrance adjustment, which also has sliders for
Saturation and Vibrance. The first is that the Vibrance adjustment layer does not
treat all colors equally. It tries to prevent oversaturation of flesh tones, which
means reds are treated differently than greens. For some images (portraits) that's
ideal, but for others (fall foliage) it might not be. Not only does a Hue/Saturation
adjustment layer NOT make this distinction for red colors, it actually lets the user
select the color channel they wish to adjust. And this is the second important
difference. There are no color channel options with Photoshop's Vibrance
adjustment layer. Saturation and vibrance of different colors, like blue and
magenta, can only be addressed independently using the Hue/Saturation
adjustment layer.

- 40 -
Saturation Painting
A second method to add or remove color

saturation is with saturation painting. This is very
similar to luminosity painting. However, instead
of painting with black and white through a
luminosity selection to affect image brightness in
specific tones, saturation painting paints with a
saturated or unsaturated color through a
saturation or vibrance selection to affect
saturation in specific colors.
To start saturation painting, first create the

"Saturation Painting" layer by clicking the Paint
button below the SAT button in the top section of
the RapidMask module. This creates a blank pixel
layer set to Saturation blending mode. It also
resets the default foreground and background
colors to gray and red. Gray painted onto the
"Saturation Painting" layer removes color saturation. Red increases it. Brush
opacity is varied to control the effect.
Saturation and vibrance masks are used to precisely target where the paint is
applied. A saturation masks only allows the selected paint color to be brushed onto
the saturated colors in the image and the vibrance masks only allows application to
the under-saturated colors.
Generally the goal of saturation painting is to better balance saturation in the

image. This is done by removing excess saturation from over-saturated colors
(painting with gray onto the "Saturation Painting" layer) or adding saturation to
under-saturated colors (painting red on the "Saturation Painting" layer).
So once the Saturation Painting layer is in place, the next step is to generate an
appropriate saturation or vibrance selection to paint through. Luminosity-lock the
image's saturation using the SAT button, and then create a saturation mask (Lights
1 through 5) to target saturated colors, or a vibrance mask (Darks 1 through 5) to
target unsaturated colors. The masks created by these spectrum buttons can be
further modified using the red-border modification buttons near the bottom of the
module. Finally, load the mask as a selection using the Select button at the bottom
of the RapidMask module. Then paint through the selection with the appropriate
brush color to affect the desired saturation change. The +/- Ants button in the
Control module can be used to turn off the marching ant selection borders to better
see the effect as paint is applied. (+/- Ants turns off the marching ants, but the
selection is still active.) Because saturation painting can have dramatic effects
when brush opacity is high, it's best to start with low opacity (less than 10%) and
slowly build up the desired saturation change with multiple brushstrokes.
In practice, saturation painting often works best to reduce over-saturation since it's
is often a local problem confined to specific areas. Saturation painting through a
- 41 -
selection of a saturation mask allows the gray paint to be brushed on precisely

where it's needed to pull back on the over-saturated colors. To adjust vibrance, on
the other hand, a Hue/Saturation adjustment layers with a vibrance mask often
works better. Most images can handle a global increase in saturation in the under-
saturated colors. These global saturation increases through vibrance masks often
look completely natural since over-saturation of saturated colors is prevented by
the vibrance layer mask on the Hue/Saturation adjustment layer which
appropriately restricts the saturation change to unsaturated colors.
Proper saturation balance can usually be achieved using a combination of

(a) saturation painting through saturation selections to decrease oversaturation and
(b) Hue/Saturation adjustments with vibrance layer masks to increase saturation in
under-saturated colors.
This combination often allows more saturation to be incorporated into the image
without the image looking over-saturated. The key is to use the saturation and
vibrance masks in a way that insures both global and local saturation are properly
addressed.
WORKFLOW CONSIDERATIONS
There are many ways to develop images in Photoshop. I prefer a "free-form"

approach where the image determines the next step instead of some predetermined
process that uses the same steps each time. This requires the photographer to
engage with the image and ask, "OK, what does this image need most right now?"
and then figure out a way to meet that need. Contrast, color, saturation, and
brightness are the four big items to think about. Getting these four elements
balanced across the entire frame usually results in an image where the viewer
doesn’t even realize there has been manipulation. When everything looks natural,
the viewer can accept that it is.
The V5 panel is meant to be a tool to help photographers achieve their desired

balance in the image. Contrast, brightness, saturation, and color are easily
targeted using the masks that can be generated by the panel. Making adjustments
through these masks to target specific pixel-level properties in the image is one
way achieve proper balance. The adjustments are confined to tones defined by the
mask but the masks also blend the adjustment seamlessly into the image. These
self-feathering masks make it possible to achieve the right balance in the image in
a proportional way where pixels that need the adjustment get adjusted most and
those that don't need it get adjusted least.
It takes some practice to get a feel for how these masks work. Masking for
brightness usually makes a lot of sense. This is the fundamental idea behind using
luminosity masks for exposure blending. But color channel masks, saturation
masks, and Color Range masks are new territory for many photographers. The
only way to really understand these alternatives to standard luminosity masks is to
try them. The RapidMask module quickly makes entire spectrums of these
alternate masks that the user can see on-screen and try out. The visual, mask-

- 42 -
based nature of the V5 helps the user know up front if they're on the right track for
finding a mask that meets their image-development goals.
By using perfectly feathered masks and selections of specific tones, imbalances that
could easily draw the eye of the viewer and look unnatural are instead easily
removed with an adjustment layer or a paint brush. Saturation, contrast, color,
and brightness can be addressed individually or in combination; locally or globally.
It's just necessary to discover what needs to be done and find a way to fix it.
The question "What does the image need right now?" might have answers like:
"More overall contrast."

"More saturation in the light tones."
"Better mid-tone contrast."
"The sky (blue/cyan) is a little too red."
"The image is too dark."
"That corner is too light."
"The shadows feel heavy."
"The light tones lack detail."
"The colors feel weak."
These are things the viewer will see too . . . and quickly pick up on as looking out of
place. It's the photographer's job to spot these things first and correct them before
presenting the image to the viewer.
When image development is approached in this way, there is actually a four-step

workflow that can be implemented:
1. Evaluate the image.

2. Identify what it needs.
3. Find a way to fix it.
4. Repeat.
While the panel can help correct many problems identified by the photographer, it's
still up to the photographer to decide what's needed, and this comes with practice
and experience. Initially there will be some trial-and-error out of necessity, but
very soon deciding on which mask to use becomes more intuitive. In fact, knowing
that there is a good way to target brightness, contrast, saturation, vibrance, and
color often makes it easier to start thinking about how these important properties in
the image and how they can be improved.
Beyond helping to bring proper balance the image, the V5 panel should also be
seen as a creative tool. It's great to end up with a perfectly developed image, but
is that enough? Digital development opens all kinds of possibilities. What happens
when we push beyond a well-balanced image to one that also speaks of our
creative interaction with the light? What else can our images show if we don't
restrict ourselves to a literal interpretation of what the camera captured?

- 43 -
The answer to these questions is that we'll never know if we don't at least try. The
V5 panel makes it easy to add enhancements like glow, Orton effect, clarity, and
vignettes. Can these improve the image further? Maybe. Click a button and see.
If it doesn't work, delete the layer and try something else. If something looks like
it has potential but is too strong, add a luminosity mask to the layer and see if that
helps. Proportionally revealing many effects through pixel-based masks frequently
looks much better than the full-on effect without a mask. The LayerMask panel
allows different masks to be inserted as layer masks quickly and easily.
While getting the fundamentals of the image correct is important, creativity is also
a necessary part of photography and frequently involves pushing the light in new
ways. This is a much less obvious pathway than evaluating and correcting
noticeable imbalances in the image. But most photographers will want to explore
this territory eventually, and the V5 will hopefully help start this process and
provide new ideas for creative exploration.
TROUBLESHOOTING
The panel has been tested on Mac and Windows. Because of the necessity to
support previous versions of Photoshop, there is now a Flash-based version of the
panel for Photoshop CS6 and an HTML5-based version for Photoshop CC.
There are occasionally unexpected problems when using the panel. A few of the
most common problems and possible solutions are listed on the following pages. If
you have other problems, please contact me and I'll try to help.
1. Error message: "The <module name> extension could not be loaded

because it was not properly signed."
This error means that the contents of the module's installation folder have been
altered. The panel has indeed been properly signed, but the signature chain, which
guarantees unaltered code, is broken. This can happen if the user accidentally or on
purpose opens the installation folder, but it also appears to happen spontaneously
sometimes during routine
installation, possibly more
commonly with drag-and-drop. The
solution is to use the download link
to get a NEW download folder and
then to replace the installation
folder in the "extensions" folder
with the fresh copy from the
download.
2. The panel has been installed but it doesn't show up in Photoshop.
There are a few possibilities to consider here.
a) Make sure to look under the menu command Window >Extensions to open the
various modules in Photoshop. Installation is not enough to actually open modules
in Photoshop. The menu command is needed. Once a module is open it will stay
- 44 -
open and can be docked to a panel dock at the side of the monitor or the options
bar at the top.
b) For Windows users using Photoshop CS6, there are actually two versions of
Photoshop installed on the computer, a 32-bit version and a 64-bit version. If the
module folder has been copied to the "Panels" folder of your application but doesn't
show up under Window > Extensions, it often means you are running the other
version of Photoshop. Check the menu command Help > About Photoshop… It will
tell you if you are running the 32- or 64-bit version of the program. Make sure you
copy the "TKActionsV4" folder to the "Panels" folder of the corresponding version of
Photoshop.
c) There is a preference setting that needs to be checked in order for extension

panels to be loaded. The check box "Load Extensions Panel" under the "Plug-Ins"
preferences needs to be checked (red box, image below).

- 45 -
3. The masks generated by the panel are inverted (the "Lights" masks are
negatives and the "Dark" masks are positives).
This is NOT a problem caused by the panel. If you create a selection using one of
the Photoshop's other selection tools and then save the selection as a mask, it will
also be inverted. So this is a Photoshop problem. There are two possible solutions.
a) Double-click the Edit in Quick

Mask Mode button (rectangle with a
circle inside) near the bottom of
the Tools panel. From the pop-up
window, make sure the radio
button for "Masked Areas" is
selected. If the "Selected Areas"
radio button is selected, masks will
be inverted.
b) If the first solution doesn't

work, it's possible the Photoshop
"Preferences" file is corrupted and
needs to be reset. An online video
to help do this can be found here.

- 46 -
4. A recommendation to properly manage adjustment layers and layer

masks.
As mentioned earlier in this

PDF, it's generally a good
idea to make sure Photoshop
is adding a layer mask
automatically when it creates
a new adjustment layer. To
check for this, first open the
Adjustments panel (Window
> Adjustments).
Then open the fly-out menu

(four bars in upper right
corner) and make sure the
"Add Mask by Default" is
checked. If not, click on it to
toggle the check mark on.
Also make sure that "Clip to

Layer" is NOT checked. If it
is checked, click it to turn off
the check mark.
I hope the panel is useful to you and that it helps you achieve your artistic goals in
Photoshop. Please feel free to contact me if you have any questions, problems, or
suggestions.

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-1-

TKActionsV5 panel ©2016 Tony Kuyper

Legal Notice / Acknowledgement 3

Very Important Information 9

The Control Module 12

The Basic Module 15

Luminosity Lock/Rapid Mask 17

The Intro Module 19

The RapidMask Module 22

The LayerMask Module 26

The Actions Module 29

Detailed videos on how to use the panel are available here:

TKActionsV5 panel ©2016 Tony Kuyper

TKActionsV5 panel ©2016 Tony Kuyper

Language switch (CC version only). Multiple

TKActionsV5 panel ©2016 Tony Kuyper

Mask-based vs. spectrum-based. The V5 panel abandons the selection-based

Expanded spectrums for all channels. The Luminosity Lock/Rapid Mask

TKActionsV5 panel ©2016 Tony Kuyper

Integrated 16-bit mask workflow. The V4 panel introduced 16-bit luminosity

Auto-Apply. The V5 LayerMask module is dedicated to using Luminosity Lock and

History tracking of luminosity masks. Several

Additional Web-Sharpening Options. Again in response to email suggestions,

VERY IMPORTANT INFORMATION

TKActionsV5 panel ©2016 Tony Kuyper

5. Be sure to have automatic layer

6. The module sizes are fixed and

7. Give the actions time to complete

TKActionsV5 panel ©2016 Tony Kuyper

THE CONTROL MODULE

Cyan buttons make documents available.

TKActionsV5 panel ©2016 Tony Kuyper

Yellow buttons determine how the image is

Purple buttons are some miscellaneous functions.

TKActionsV5 panel ©2016 Tony Kuyper

TKActionsV5 panel ©2016 Tony Kuyper

White buttons (The first two buttons listed below have

Red buttons are associated with selections, masks, and

THE BASIC MODULE

TKActionsV5 panel ©2016 Tony Kuyper

The Basic module is an easy way to get started using

The buttons in the Curves section create a Curves

The Levels buttons do the same thing except they create

LUMINOSITY LOCK/RAPID MASK

With the V5 panel, new masks generated using

TKActionsV5 panel ©2016 Tony Kuyper

1. There is a rate-liming step in luminosity mask creation whose result can be

THE INTRO MODULE

TKActionsV5 panel ©2016 Tony Kuyper

The way to start using the Intro module is to click the

1. Adjust−This button provides a pop-up menu of adjustment layers. Clicking one

TKActionsV5 panel ©2016 Tony Kuyper

2. Select−This button loads the current Rapid Mask as an

3. Channel−This button opens the Save Channel dialog

4. Pixels−This button creates a pixel layer on the Layers

THE RAPIDMASK MODULE

TKActionsV5 panel ©2016 Tony Kuyper

target specific colors (R, G, B, C, M, Y). So instead of working with a only a

Once the "luminosity" (it's in quotation marks since it

1. Infinity (∞) button−Opens a Levels adjustment dialog window to allow the

2. The A button−Performs an auto-Levels adjustment on the Rapid Mask. The

3. Invert button−Inverts the Rapid Mask (creates a

4. Focus button−Decreases the black-to-white

Once the Rapid Mask is what the user wants, the