Complex Selections for Compositing

 

10 Things Lightroom Users Need in Photoshop

 

Lesson Info

Complex Selections for Compositing

Compositing so let's talk about basically putting one person into a different photo white rooms not good at this at all so I'm other than processing the photos first, which is what I would do I'd process the photos inside of late room for color and toning and exposure and all that other than doing that inside of light room I we're not going to do anything about it inside of light so what we do here is we select our photos, we go here photo edit in photo shop and let's go ahead and we'll bring her into the whatever I'm gonna composite to images together so basically we're talking about compositing in selection whenever I'm going to do that, I try to get the photo the compositing photo into the background as soon as possible and that way it makes it easier to select because you might work on selecting it from the backer in here so it looks perfect but unless it looks perfect in the other photo you don't really know so let's go ahead and copy paste way too big for this photo so free trans...

form dropper right there a little bit smaller weaken resize later that's good start so let's go ahead and we'll click on our photo here we're going to use the quick selection tool and we're just going to make a real quick selection remember spend a minute or two at this point just to try to get the selection better so hold down the option or all key get rid of all those little straighter is try to get the edges as good as you can and that's looking pretty good obviously the hair it's not good but we're gonna fix that so we've got our basic selection um the best selection tool and photo shop is hiding behind this refined head style hug box it should be called the hair selection tool is really what it should be called because it works so good you'll see your different views here too you got your marching ants red on black on white what's cool in one of the benefits of putting her into the background first is you could do on layers and it will actually show you the background there so now I don't have to work what's it look like I'm black what might not look like on the background so we might do more work because we could be more forgiving for the background then we could on black so just get it on the layer and that way you can see exactly what it looks like and then the easy thing here is we're going to go to our radius tool if I just crank the radius up not gonna work right? It starts going too far, but even if I go halfway up you'll see it's going it does coit a big difference on the hair that's before that's after it's a pretty big difference just from moving a slider. But the problem is, is it's also starts to bleed out some of the edges and everything, so we're going to do just bring our radius back down here, and then we're gonna take the brush tool, and all I got to do is this brush. I have no idea. It's haphazard. Just brush along the edges. Ok, so this is our original selection that's what we went in there with and that's what we end up with, and I'll put it on black just to show you because you could really see it. That's the original and that's just a really quick brush so big, big change. One of the things that you'll notice is it leaves a little bit of gray there. I'll show you one of the things that you can you can come in here and try to fix you go under decontaminate and start toe move that up a little bit, see how those fringes go away so that's before that's after all, right looking pretty good let's. Go ahead and click ok, so if you look over here, we've got our layer mask. It's selected out so now we don't see the background I'll show you one last little tip you may or may not see this but I want to show it to you just in case you come across it sometimes you'll see a tiny little fringe and in my class my my basics class yesterday we did we saw fringe around the edge so just a tiny little friends we can kind of see a little bit of one here um easy to get rid of as much as I tell you guys to use layer masks of things you're nondestructive this is where I have to deviate a little bit from that so what we're going to do here I'm gonna put my selection back around this person easy way to do that just command or control click right on the layer so puts a selection around her again and then I just copy and paste I can turn that layer off and now I can move her into place and the reason why did that is because this next tool won't work with a layer mask but what we want to do it zoom into where there's a little bit of a little bit of a fringe right there you go to the layer menu go down here to matting choose d fringe one pixel see that before after before after so it just beats us going with a tiny tiny little brush and going around the edge and trying to get rid of it this way we just one pixel all the way around gets rid of it ok so that is our complex selections and compositing again stuff we can't do inside of light room all right panoramas late room does not have panel stitching in it so basically, you know want to shoot a panorama? Um I'm pretty non technical with my panel like I literally usually beyond a tripod and I literally like line it up click move it over overlapped by about twenty five thirty percent click move it over overlap a little bit like I find something that I couldn't go with click click click that's about all I do I don't have one of those nodal point panel heads or anything like that which is why you're going to see mine come out a little bit crooked but in the end of the day you can straighten it but we've got our panel here inside of light room so let's go ahead and select these photos will go photo edit in and merged to panorama and photos show before anybody asks yes I would process them and like room first so in fact I'm here let me show you that really quick um what I would do is you make your adjustments and then shift click to select the other photos and then just hit sink and it'll synchronize all those adjustments across but slut, their photos merge two panorama, this is it needs photos shot four. So it's going to use photo shop spano stitching if you guys want a tip for this, my tip would be saved small j pegs first before you try it because if you know, I don't know about you, but I should with a thirty six megapixel camera and you try to stitch together five or six photos from a thirty six megapixel camera. It takes like, five to ten minutes, so I learned the hard way I learned the hard way in a demo to these air small j picks, huh? But I learned the hard way, but just go into light room, go file export and say that, you know, eight hundred pixel j pegs and then go to the do states together because not every panel is gonna look good. You don't really know until you see it, so that saves you from spending ten minutes on it. Um so there's, our our stitch, pano every once in a while, I don't know if you guys can see it, you see those little cracks, those little lines, they're not really there, they look like they're there, but they're not trust me it's just a rendering. Kind of weirdness and photo shop as you zoom in you'll see they disappear so don't don't think there's anything wrong um but we got our panel stitched together I'm gonna go the layer menu I am going to merge all these visible layers I don't need him anymore I don't need all that masking and whatnot and then eh so we could be done here we could just go to the crop tool and crop out all this stuff and be done but that be no fun so I can't guarantee this is always gonna work but try it go grab your go grab your magic wand tool and if you click on the transparent area it makes a selection of it over the content aware stuff we talked about so if you go to edit phil and choose content aware it may and I emphasize may I really emphasize may fill in those areas for you no it's not I mean you know so what? So what helped us here trees blue sky without clouds I mean that's that's working in our favor you could see there's there's some funkiness going on there's the there is the broken tree at the bottom but yeah with a little bit of creativity maybe take your clone stamped you'll go back to normal mood one hundred percent take her clone stamp tool and sample try to fix that paint the way the tree to nowhere but if you just see any weird little patterns down here is a little bit awkward and honestly, guys, nobody's going to notice that stuff? You know, the only people that will look for that photographers you guys will on ly photographers when there's a picture on the wall on ly photographers walk up and put their nose against right nobody else in the world does. Everybody stands back like all that's pretty go go to a department store with, like a big a big mural big photo on the wall sometime go like its a sporting goods store and you see a runner you see basketball player on the law or something go look at it go look how much noise and grain and motion blur and things there are you'd be a major walk upto uncouth kat. That must be like thirty two hundred s o should be shocked e mean, you'll see it, but but normal people don't go do that long. People just enjoy the photo so nobody else is going to do that. Yes, a normal person. Well, since you constantly bull center an outdoor photographer into shooting a lot of the panel's scenes. When you go to bring them over as layers, have you found, um, in the merge? Is it easier to just merge them all? They have the various different sort of perspective. So is tio find yourself having to choose which one to use the auto or went to use the other. So I think your question is is when we go to photo merge and we get into here the former there's a bunch of options in there, I'll try to show you when I finished this photo, I'll try to show you but there's auto perspective, cylindrical all those things, the easy answer is just shoes on I don't ever choose anything different if you get it if you if you get way into panels and there's, there are three hundred sixty degree stuff, but I just choose auto all the time. All right, so so you saw her trees down there, and then you'll see some blotches in the sky easy ways to fix that might be go to the patch tool whenever you see a blotchy area, the way the patch tool works is you just lasso a selection and then you drag it over something else and it melds all that stuff together. So if you see any of those blotchy areas saw another one kind over here it's a little bit don't do that so that's another way to go in there and try to help fix those things all right when you're done file safe close it, and you will be back over into light room, and you will have our panel. Yeah, there's. A couple areas. I would have fixed him. And obviously, I spent all that time with that tree. I probably would have disclosed that tree out. Teo, you just get rid of it.

Class Description

Lightroom is powerful, but it can't do everything – that's where Photoshop comes in.

In 10 Things Lightroom Users Need in Photoshop, you’ll learn ten essential Photoshop functions that will put the finishing touches on your Lightroom images and take your edits to the next level.


Software Used: Adobe Lightroom 5

Reviews

John Bosma
 

I like Matt's teaching style. He's upbeat and thorough. Sometimes he can move pretty quickly through the content so owning the video becomes essential so that you can back up and relisten/rewatch the steps he's taken to do something. Worthwhile course.