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,
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Develop an understanding of how Photoshop works
- Create your ideal workspace
- Configure the essential preference settings
- Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
- Navigate multiple images seamlessly
ABOUT BEN’S CLASS:
Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.
Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.
Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.
WHO THIS CLASS IS FOR:
- Beginner, intermediate, and advanced users of Adobe Photoshop.
- Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
- Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.
Adobe Photoshop 2020 (V21)