Lesson Info
73. Manually Select and Mask
Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Manually Select and Mask
Let's do this with other images. Let's try it with a complex tree. So here I have a background to put this on, so I'm gonna choose tools. Photoshopped load files into Photoshopped layers. I'll zoom up with command zero, and usually I had pre adjust these images like this one. You can't even see it, but there's a draft in there. Ah, and so I would usually optimize the picture. I'm just not spending the time to do that, because I'm trying to concentrate on the masking. No, that's the tough part now, since I use load files into Photoshopped layers. If you look at my Layers panel, I have two layers. If I hide the top layer, that's what I want is my new background, and this was taken on a cruise ship, so there's a tiny little things sticking out over here on the side. It's like the mystery thing, but I think that'll work fine. We might have to retouch out that one piece to start this. I want to again select the subject of the photograph, and I could go to the select menu into subject and se...
e what it does. But I think with something that is complicated. If I type of letter Q. It's not very good, so I'm not even gonna let it do select subject. I'm gonna do it myself, and all I'm gonna do is go to the left side of my screen and I'm gonna grab the quick selection tool with the quick selections will active. I'm in a pain across the bottom portion of my image. I'll just click here and start to drag towards the right and I'll make sure that I never get any over spray on an area that I don't want selected. So I'm not gonna paint anywhere where the sky would be. I might get a smaller brush so that I could paint up the trunk of the tree, But I'm gonna try not to touch any of those areas where you see the sky stick through. So it's kind of a clean spot coming this way. And then it seemed to grab most of the tree. Well, that will be good enough. It's not necessarily ideal, but it's good enough we went. Most of the work toe happen here in selected mask because Photoshopped really needs to take control. So I'm gonna choose selected mask now. It remembers the last settings I used for the preview and therefore the last time I had it set toe on layers. But I don't usually use that. It's my starting point. I usually use overlay because I find it to be easier to understand what's happening red indicating the area that is not selected. And then what I need to do is just grab that second tool from the top. It's already active. That's known as they're fine edge brush, and I'm gonna paint on any area where the tree is covered with red. So right here, covered with red. And as I paint, it's changing my end result because I'm getting it control. But I'm trying to go for any portion with a tree is covered in red because anything covered with red is thought of as something it should be thrown away. And so right now it's confused and it things roll. That stuff sticking into the red should be thrown away, and therefore I'm not going to give you anywhere near as good of an end result. If you make me think that the color of tree should be trashed so by covering up those areas. They're covered in bread. I'm at least making it. So the area covered in red is much closer to what should be thrown away. All right, next, after I've covered up those areas, I'm gonna look for areas where the sky is not covered in red. Well, that's where I need to give Futter shop control, because now wherever it is I paint, it's gonna compare where I've painted to what's covered in red, and if it's similar to it, it's gonna put red on it. If instead it's similar to what doesn't have read on it, it will prevent the red from applying. So I'm just looking for anywhere where I can see a hint to the background and I'm gonna paint over it. That gives Photoshopped control of those areas on, and it's okay if it's a big area, might be 3/ of the tree. But if there's a blatant area the tree where there's absolutely no hint of the background showing through, then don't paint on it because you're gonna be able to give Photoshopped a better chance of doing a good job. So that area to the right of Warren painting right now, I'm only gonna extend to where I can see hints of sky. I'm not gonna paint across the middle of it because then Photoshopped has control over it. And I need to have a large enough area where Photoshopped doesn't have control. That tells it what should be deleted in what she be kept. The area that has red on it is what it thinks should be deleted area where I have not painted it all and didn't have read on it is what it thinks should be kept. And I'm just looking for hints of the background where it needs control. Maybe right there. I can't tell if that's a blue sky right there or not. But if I think it could be, I want to click on it now. At this point, let's see where I've given Feder Shop Control. To make sure we get on enough, I'm gonna turn on the check box near my upper left called show edge. And now the areas that have no red on it is where Photoshopped has control are. And I just got to decide if there's some other areas where I should give it control over what's happening. Sometimes you end up with these little chunks like this, and if those little chunks are sitting on top of what you're trying to delete, then get out of it because Photoshopped needs control or, if you're subject, extends out into that outer red zone, overlaps it somewhere. Then you want to give Photoshopped control. Takes a little while to get used to it, but once you're used to it, it's pretty straightforward. It looks to me like I didn't bring up the radius slider most the time I have that up at least two, which gives it control at least two pixels all the way around. But that's looking pretty good. I don't think I see any blue underneath those little pieces or those, all right that I could turn off the show as check box. Then I come over here and change my view, and this is when I'll probably start feeling it on layers so I can see it with our new background. And that's when I can also start zooming up and being a little more critical of it. And let's see and don't look bad to my eye. Just yell out If you see any problem. Okay, Yeah, to me, it doesn't look bad now. If there are any issues where you see hints of the old background clinging, you'll see it as like we saw in the bird example where the edges just look like if you had an old let's say, overcast sky, just some white ish tinge on the edge. Remember, you do have decontaminate colors and that will shift the color of things. I'll usually experiment with that. Even if I didn't notice an issue because sometimes it can improve things, let's turn it on and see what happens. Okay, that things were getting much darker, but I also noticed there's feels to be less detail, less variation and brightness like if you look down here, it's just things were getting thick, so I don't know. I like it, but you can remember lower it down and then bring it up just a little bit of time to see if it's helpful. And I think maybe just a little bit of it. If I don't notice any big issues, then I click OK,
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Noel Ice
I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
a Creativelive Student
Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!