Lesson 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 Description

Lessons

1. Introduction To Adobe Photoshop 2020
2. Bridge vs. Lightroom
3. Tour of Photoshop Interface
4. Overview of Bridge Workspace
5. Overview of Lightroom Workspace
6. Lightroom Preferences - Saving Documents
7. How To Use Camera Raw in Adobe Photoshop 2020
8. Overview of Basic Adjustment Sliders
9. Developing Raw Images
10. Editing with the Effects and HLS Tabs
11. How to Save Images
12. Using the Transform Tool
13. Making Selections in Adobe Photoshop 2020
14. Selection Tools
15. Combining Selection Tools
16. Using Automated Selection Tools
17. Quick Mask Mode
18. Select Menu Essentials
19. Using Layers in Adobe Photoshop 2020
20. Align Active Layers
21. Creating a New Layer
22. Creating a Clipping Mask
23. Using Effects on Layers
24. Using Adjustment Layers
25. Using the Shape Tool
26. Create a Layer Mask Using the Selection Tool
27. Masking Multiple Images Together
28. Using Layer Masks to Remove People
29. Using Layer Masks to Replace Sky
30. Adding Texture to Images
31. Layering to Create Realistic Depth
32. Adjustment Layers in Adobe Photoshop 2020
33. Optimizing Grayscale with Levels
34. Adjusting Levels with a Histogram
35. Understanding Curves
36. Editing an Image Using Curves
37. Editing with Shadows/Highlights Adjustment
38. Dodge and Burn Using Quick Mask Mode
39. Editing with Blending Modes
40. Color Theory
41. Curves for Color
42. Hue and Saturation Adjustments
43. Isolating Colors Using Hue/Saturation Adjustment
44. Match Colors Using Numbers
45. Adjusting Skin Tones
46. Retouching Essentials In Adobe Camera Raw
47. Retouching with the Spot Healing Brush
48. Retouching with the Clone Stamp
49. Retouching with the Healing Brush
50. Retouching Using Multiple Retouching Tools
51. Extending an Edge with Content Aware
52. Clone Between Documents
53. Crop Tool
54. Frame Tool
55. Eye Dropper and Color Sampler Tools
56. Paint Brush Tools
57. History Brush Tool
58. Eraser and Gradient Tools
59. Brush Flow and Opacity Settings
60. Blur and Shape Tools
61. Dissolve Mode
62. Multiply Mode
63. Screen Mode
64. Hard Light Mode
65. Hue, Saturation, and Color Modes
66. Smart Filters
67. High Pass Filter
68. Blur Filter
69. Filter Gallery
70. Adaptive Wide Angle Filter
71. Combing Filters and Features
72. Select and Mask
73. Manually Select and Mask
74. Creating a Clean Background
75. Changing the Background
76. Smart Object Overview
77. Nested Smart Objects
78. Scale and Warp Smart Objects
79. Replace Contents
80. Raw Smart Objects
81. Multiple Instances of a Smart Object
82. Creating a Mockup Using Smart Objects
83. Panoramas
84. HDR
85. Focus Stacking
86. Time-lapse
87. Light Painting Composite
88. Remove Moire Patterns
89. Remove Similar Objects At Once
90. Remove Objects Across an Entire Image
91. Replace a Repeating Pattern
92. Clone from Multiple Areas Using the Clone Source Panel
93. Remove an Object with a Complex Background
94. Frequency Separation to Remove Staining and Blemishes
95. Warping
96. Liquify
97. Puppet Warp
98. Displacement Map
99. Polar Coordinates
100. Organize Your Layers
101. Layer Styles: Bevel and Emboss
102. Layer Style: Knockout Deep
103. Blending Options: Blend if
104. Blending Options: Colorize Black and White Image
105. Layer Comps
106. Black-Only Shadows
107. Create a Content Aware Fill Action
108. Create a Desaturate Edges Action
109. Create an Antique Color Action
110. Create a Contour Map Action
111. Faux Sunset Action
112. Photo Credit Action
113. Create Sharable Actions
114. Common Troubleshooting Issues Part 1
115. Common Troubleshooting Issues Part 2
116. Image Compatibility with Lightroom
117. Scratch Disk Is Full
118. Preview Thumbnail