Lessons

Lesson Info

Masks and Selections Part 1

we're going to start talking about removing the backgrounds on images. If I end up flipping through any magazine or catalog, I constantly see pictures that contain no background. It just looks like whatever object was in that picture is just sitting on the sheet of paper that's there. And so I talk to you about that. There are many different ways of doing it, and we're not gonna talk about just putting it on a white background. We're talking about just combining images together. And so let's take a quick look. I'm gonna just open any image and where to start talking about masks and selections. The two are kind of interchangeable, so usually when you work in photo shop, whatever it is you do, it's applying to filter. Making an adjustment or anything else will usually apply to the entire layer that you're working on. Unless you take some steps to limit what part of the layer it works on by making a selection, let's look at a few different methods for making selections. When I look at my ...

tools panel, there are a couple basic selection tools at the top. This one is known as the marquee tool with the marquee tool. I could make a selection of any area. Let's say here by just clicking and dragging. And now this area is selected. Any time you have an area that selected, you can Onley change that area, you cannot change anything outside of it. That means if I attempt to adjust the image I tell it to make a solid color layer, let's say or do anything. For the most part, it should only happen within that area. In this case, since all I have is a layer that contains a picture. I'm gonna come up here and just show you that if I use something like going to the filter menu and choosing Blur, for instance, that it's not gonna blur my entire photograph instead, it should blur only that area on. Actually, I wanted to use not just blur. Blurred doesn't have any settings attached to it. So if it doesn't blow your image enough, you could never tell you blurt it. I'm gonna use the setting called Ghazi and blur in general in Photoshop. If you look at any menu command, if the menu command you're thinking of using does not have three periods after it. It means there are no settings related to it. It's just going to use a setting without your input. If you find the menu choice, it has three periods after it. It means there are settings involved. So if I go over here, which is the Blur menu within of the sub menu called Filter? If I want control over it, I need to pick one of them that has three periods. So use Ghazi and Blur. I'll bring this up and you could see that the only part of the image that is becoming blurry is the area that is selected. So we're gonna talk about a bunch of different ways of making selections. We might use them so that only the area that we have selected turns black and white. The rest of the picture remains in color. We might make it so like I just showed you. We blur that area whatever will use it for a bunch of different purposes. So far, we've only used the marquee tool. The marquee tool makes rectangles. You click in one spot, you drag to another, and it simply makes a rectangle between the two areas where you drag pretty simple. Another tool you could use to make selections would be over here, and it's the lasso tool. With the lasso tool, you can draw a free form shape. That's where you could trace an object if you wanted to. For instance, here, let's say I wanted to select this yellowish area. I could click somewhere on the edge of it in slowly draw the shape and imagine I'm good at this. I'm not. So because I don't typically do selections. Where you manually trace things is very hard to be accurate, but I'm attempting, in this case to trace this now. No, I'm using the track pad that's built into my laptop to do so, which makes it even more difficult than using a mouse or using even better graphics tab. But I could make a selection like that. Now if I copy, the only part of the image that would be copied is what selected. So if I go to a different document, paste it in to get it into that other document, we'd only have this top area. Um, that's everything. The other thing I could do with selections is if I select one area like this, I can go to the select menu and there I'll find a choice called inverse inverse gives you the opposite of something. So right now I have this yellow banner crudely selected when I choose inverse instead of having the yellow banner I've everything around it, selected everything except for the yellow banner. Then I can come over here and do something like, for instance, an adjustment. I'll use an adjustment called Black and White, which pulls all the color out of your image, and I'm not gonna discuss the adjustment yet. We'll do that later on, but you can see that it only affected the area that was selected. So let's talk more about making the selections and how we conduce it on various objects. In this case, I'm gonna choose on Duke's. I didn't really want that area to be black and white, and I'll go to the select menu and choose de Select, which means to get rid of any selection that happens to be there. So so far we've only looked at the marquee tool, which makes rectangles in the lasso tool where you can draw free form, shape those air tools that I try to use the least because they aren't gonna do anything that's automated to speed up what I want to do. Right below those two tools, though, is something called the quick selection tool. The icon looks like a brush with a dotted circle behind it. With that tool, you're presented with a brush. You can change the size of that brush the same way you change the size of any brush. For instance, I could use the square bracket keys that I've used previously, and with that tool, I click and it looks at the area that is within that circle that represents the brush, and it automatically expands from that until it notices a difference in the brightness, the color or the texture of the image in whatever it notices. A difference in one of those qualities it stops expanding the selection, and so you see that it selected that little area. And if I began to paint, it's just going to continuously expand thinking about Onley, the areas that I've painted across, and so it's gonna be selecting things that looks similar to that which I've painted across, and so in this case, that's how easy it could be to select the sole object. No need for me to use things like the lasso tool. If I can use a tool like this one, the time I would use something like the lasso tool where I manually draw something is if there was no visual difference between this object in his background. If this was on a yellow background and there was barely any edge on it whatsoever in the quick, quick selection tool failed on me, then I might need to go to something like the lasso. So I have this selected. Now let's show how we can use a selection like this toe limit, where layer shows up in my layers panel. What I have at the moment is a background layer. In most versions of Photoshopped older versions. You can't have something called a mask attached to a lyrical background. You'd have to double click on this layer and change its name. And by doing so, what that would accomplish is this lock symbol would go away, and it would make this layer like any other that you have ever worked on. It's only when it's called background that it's got a lock symbol, and it limits what you can do to it. I want to add a mask to it. When you attach a mask to a layer, it's called a layer mask, and I do that at the bottom of my layers panel by clicking on this icon looks like a circle inside of a rectangle in old versions of federal shop. I would not be able to click on that When I'm working on the background layer, it would force you to change the name of the background layer first. All you do is double click on the name type in a new one, and then you'd be able to accomplish it in photo shop CC, though they realized that it was kind of dumb for them to make you do two steps. Rename the layer before you add the mask. So now they make it so. Even if you have the background layer active, you can click the layer mask icon in all it does. Is it renames the background for you. It just us two steps at once. Watch what happens when I click this icon. It's gonna take the selection that I currently have active and is gonna convert it into something that gets attached to that layer. So here goes. Watch the layers panel when I have a selection active and I add a layer mask. Remember, I add the layer mask by clicking on this icon right here. Then it took that selection, and it transformed it into this. This is called a layer mask. A layer mask limits where layer shows up where any part of the mask that is black hides the layer. Any part of the mass that is white shows the layer is it usually would. And so here you can see that the whole background around this would disappear because it's black, and only this area where you can see it's white would show up. And that's exactly what we have. What's nice about a layer mask is it's temporary. It's always something you can undo it any time. All they would have to do is grab my paintbrush tool right now, and whenever you paint and you have a mask attached to a layer, I can either paint on the image itself, or I can paint on the mask. In photo shop will determine where the paint goes by looking at the corners of what's in here, and you see that the corners of the mask are highlighted. That means it's active right now. If you paint, use a filter or make an adjustment, this is what you're painting on, adjusting or filtering. If you clicked over here, do you see the corners moved over? And now the image itself is active. So any change that I would make any painting or filtering or anything else would apply to the actual picture. So I just need to glance over there to see what's active. And now, if I come over here with my paint brush tool in paint with white white brings things back to the way they used to look and I could paint back whatever portion I want. We'll choose undo Black takes away. And so if I wanted this to fade out that bottom, I could paint with black and say, Make that slowly fade away and all I'm really doing when I'm painting is I'm adding to this thing. Um, either painting with white or painting with black black hides, things white shows things, and in fact it's kind of interesting if you set it up so that your foreground color is white and your background color is black, which is actually the default setting when you work on a mask. If you haven't touched this ever, then if you grab the paintbrush, you bring back your picture. If you grab the eraser, the eraser tool when it's working on something that can't truly be erased, meaning that this mask will never look like a checkerboard where it says there's nothing there. It's always full of white, black or shades of gray. When you use the eraser tool in something that can't truly be erased, it simply paints with whatever colors right here, background color and that makes things go away in a mask. So if you have your default foreground and background colors, you could just grab the paint brush tool to bring the image back. Grab the eraser tool to take it away, and it's a nice mental way of thinking because you're thinking about a racing and bringing back. But what you're truly doing is just painting with different colors on the mask. Blacks and whites choose. Undo here, choose undo. You only can choose one undo, but there is another choice it's called Step backward. Step backward really means give me a second undo, and I can come over here and step backwards as many times as I want. It's like having multiple in news. It's just weird that they call it Step backward. All right, so let's use these masks on a bunch of different things. I'm gonna go to bridge and let's open a few images. We're going to use it to remove the background. Something's gonna use it for all sorts of stuff. Here, have a coffee mug. I want to use this as a replacement for the letter O in the word coffee. So in order to do that and make it look good, I think I just need to remove the background. Let's look at a few options we would have for removing the background. The first is I could go to the marquee tool that usually creates rectangles. But if I click and hold down on it, there's more than one version of it in one of them creates ellipses, which can include circles, especially if you hold the shift key. With that, it's kind of odd, though. Watch what happens. I'll click in the upper left corner of my document in drag and look at where my mouse is right now compared to the shape I'm getting. It's nowhere near where I first clicked or where I've moved to. That's because when it's creating this ellipse, it's actually thinking about a rectangle. Imagine you contained this shape that I'm making in the rectangle. If so, the upper left corner of the rectangle is exactly where I first clicked in the lower right corner of the rectangles, exactly where my mouse is now. So if I want to select something like this, I need to think about it as if it was contained within a rectangle. If that was the case, the corner of the rectangle would be about here. That's where I need to click. And then where would the opposite corner of the rectangle B Wouldn't it be somewhere down here? And that's kind of the mindset you need to use. If this doesn't precisely match up, there's a trick. As long as I have not released the mouse button yet, I can press the space bar Space bar will allow me to move this. I don't know if you remember, but I used the same trick when we were in the shape tool. I think I was drawing some sort of shape, possibly when we're making an owl and it wasn't quite positioned where he wanted it. So I press the space bar, which allowed me to reposition it. And in this case, I'll get the top edge in the left edge to line up. They'll let go of the space bar, and I'm still making the selection. It's just a Ziff. I initially clicked on a slightly different spot, and now I'll get the right side in the bottom that I'm gonna then add a layer mask. A layer mask is only going to keep the area that I currently have selected, which means it's going to discard the handle. So let's add our layer mask. There we go. That's all I'm gonna use, because I think the handle would distract from the word coffee because I want this to be the letter O in the word coffee. So let's create a new document. Let's say we're gonna do a poster of some sort a small 15 by five inches. I don't know if I'd call that a poster and I'm gonna put in some text there now, when I typed in this text is kind of odd, but it went with the color white. And up here at the very top of my screen, I can see a sample of the color that's being used. I can click there and choose any color I want. I'm gonna choose kind of. A brownish color is if it was coffee and I'm gonna use the typeface that would usually have a round. Oh, so I'm just gonna click on the font. It's near the upper left of my screen, and I'll use the up and down arrow keys to cycle through the various choices. I'm gonna try to find a fund that would give me a pretty nice round. Oh, and I'll click on the letters t the two teas that indicate the type size and I'll drag to see if I could get it to fill a good portion of the screen. They used the move tool. All right, now I want to replace the letter O. So I'm gonna go back to the other document. We have tabs. And so I think it might be the middle tab. I'm gonna click on that. No use photo shops move, Tool. I'm gonna click right in the center of where the mug is. I'm gonna drag up to the tab for the other document Gonna drag down. So the center when I let go is right where the o is Look. Oh, this image is much larger than I needed to be, so I'm gonna transform it. Remember the keyboard shortcut for free transform its think a transform command T cell Type it right now, it thinks about the original contents of the layer which go beyond the edge of the coffee mug because the original contents of the layer are still contained within that layer is just the mask that's attached to it that makes those areas not show up. So I'll just grab this. Ah, hold shift when I scale it down and I'm going to scale it now, The problem is, when you grab the corner and scale, it seems to be repositioning the cop work. It's off the edge of my screen. Well, here is a little bonus tip. If you hold down the special key that gives you it either works on a duplicate of things or it allows you to access other features. It's the option key. It will pull the opposite handle in equal amounts. So it's pulling the handle in the upper left in Justus. Muchas I pull this one it only if I hold option. Here we go. So you see how simple that was. We made a selection around the coffee mug. We ended up turning into a mask by clicking on the layer mask icon. That's a circle inside of the rectangle icon down there, and then we bring it over to the other. Document a little command T for transform control team windows, and we could easily get it in there. It's just covering up the letter. Oh, that's in there. What I might do after that is just add good under the letters F x in add a drop shadow. Give it a little bit of dimension, drag that drop, shadow down and get it size setting and bring down its opacity a little something a little bit like that to give a little bit of dimension make sense. So very simple. Now let's go back and let's see if we can do something else with this. I'm gonna actually throw away the mass to start over again just cause you need to know how to get rid of a mask in case there's everyone on a layer and you decide you don't need it. So if I click on the mask and I drag the mask now, remember, I click not on the name of the layer or the thumbnail for the layer in the layers panel itself. I'm just moving my mouse on top of the mask itself. I'm clicking and I'm gonna drag it down to the trash can The bottom of my layers panel When I do it asked what I want to do with it If I choose delete, it's gonna bring back. Everything that was in that layer is if I never had a mask. If I click apply it would permanently throw away the areas that are hidden. So it would be is if I used the eraser tool to permanently erase it. And if I click cancel, it means Oops. I didn't mean to drag that to the trash, so I'm gonna just hit Delete will bring back what we have now. This time I want to get the handle that's in there. There's a couple different ways I could do that. I'm gonna just try to use the quick selection tool with the quick selection tool. Click within the handle. I'll start dragging and I'll drag over my mug and with a quick selection tool just saying No, you can let go of the mouse button as many times as you want. You can change your brush size after you let go and continue. When you click and drag with it, it will just automatically add to the selection you have if it select too much. And this probably happened because I probably touched the background. The little Lisbet. My brush probably just touched the background and it decided A You want to select that kind of stuff in the upper left? You can choose what happens when you click again. The default setting this add to the selection I could say Take away from it in the minus sign, and then I just click on the background. Hey, take that stuff away cause I think I accidentally bumped into the background. Or I can combine these tools together cause if I look at the selection closely, I'll zoom up on the image. I think on the bottom edge of the coffee mug, it's not doing a very good job. Does it look kind of raggedy that there doesn't look smooth? So let's see what I could do to combine these tools together. You could always combine your selection tools. I'll go to the select menu and choose de select to start over, and I'm gonna go to the elliptical marquee tool like we did the very first time we selected this. I'm gonna click where I think the corner of the rectangle would be that would contain the mug dragged where the opposite side would be if it's not positioned precisely before I let go of the mouse button will hit Space Bar to reposition it. I'll get the top edge just right with left edge just right. Let go of the space bar, and now I'll get the right side in the bottom just right. Then I'll go to the quick selection tool, and I'll use it on Lee for the handle on the mug. All we need to do is go to the upper left of my screen and make sure that it's set toe. Add to a selection. What these icons mean is this would create a brand new selection, replacing the selection that's already there. If I clicked, this would add to it, and this would take away. So come over here and just try to add the handle. So therefore, I can use one tool that gives me a very precise circular shape in a different tool to add to it. If you don't find these icons in any particular selection tool where you don't like working with those icons, you can instead use the following keys. If you hold down the shift key before you click the mouse button, then whatever selection tool your using is gonna add to the selection you already have, so you'll make a bigger selection. That's holy now on shift. If you hold down the option key, which is Alton Windows, that selection will instead take away from the selection you already had. And it does not matter which selection tool you use so you can use the lasso tool marquee tool. Any tool that makes a selection shift adds to option takes away Alton windows. So now I have the whole mug with its handle selected I'm gonna add a layer mask. So click on the layer mask icon at the bottom of my layers panel. There we go. So now we're just gonna do that same process for a bunch of different images and hopefully learning things on each image. So let's go back to bridge. I have a bridge in the right edge of my screen. I can see it just beyond the photo shop interface. So move over there and click and let's see what we can dio here. I have a bird I'd like to select, so I want to put it in a different picture. Well, sometimes the way I approach a selection is I just select whatever. It's simpler either the object I actually want to select or its background. I'm not always trying to target exactly the thing I'm thinking of, because I always have the choice. Under the Selectmen, you called in verse, which gives me the opposite. So in this case, I think the sky is simpler than the bird in. So I'm gonna grab the quick selection tool, and I'm just gonna click anywhere on the sky and just draw a kind of a circle around the bird without touching the bird to let go. It selected the entire sky around it. I'll go to the select menu. That's where I find a choice called inverse means. Give me the opposite and now I have the bird. Oftentimes that saves me a lot of time, because if what's in the bird is very intricate, it's got lots of different brightness changes in texture changes. With the quick selection tool, I'd have to paint over so many different areas and be precise about it that oftentimes selecting the background and choosing inverse is just faster. Then I'm gonna add a layer mask. So I go down to the layer mask icon and click on it, and I have just my bird Now sometimes that won't be precisely accurate. Let's try it on a different image. Let's go back to bridge. I'm gonna open this image, and I'm gonna use the quick selection tool. I'm just gonna click here on the background cause I think the background it's simpler than the subject that I'm actually trying to select. So I'll go over here, click on the background, and when I get up near the hair, I'm actually gonna go beyond the edge of the document because I'm trying to avoid painting over the hair because otherwise it'll start selecting the hairs. It selects anything you paint over. So get that background. Then I see the opening where her arm, uh, is. I might zoom up, remember command plus or command minus, and I could get a smaller brush because I don't want to get any over spray onto her. I'll click here and do that scroll down to the bottom. There is also an area that's in between her legs that's not selected. I just need to brush the small enough that allows me to easily move around within here without bumping into her legs. So about that big and I'll click, maybe drag like that. Now, I'm not gonna fix the areas at the bottom right now. Do you see that there's a little strap on her shoe that's not selected in one of her high heels? It's not selected, and this area here, where it's really dark in the shadow, isn't properly selected. I want to show you other methods of changing selections and changing masks before I change them. I'm just gonna go to the select menu and choose inverse because I wasn't truly trying to select the background. I was trying to select her and the tool I was using, I was painting in the background. That's what it was giving me. If I use in verse, I have the opposite now. Also noticed part of her arm is missing. You see that appear where shoulder is, So this tool is set to add to the selection. I've chosen inverse, so I have her instead of the background selected, and I could just go over there and click and drag on her arm. It's an area that would be easy. Sure, I'll do that. But I want to show you other methods. So here's a special feature. Anytime you have a selection visible on your screen, you can type the letter Q all by itself, not command to you. That'll quit. Photoshopped don't do that one just Q All by itself. Watch what it does. It takes whatever area is not selected inputs read over it just so you can visually tell what is selected on what's not. If I hit the letter Q. Again, it turns it off, brings you back to a selection. What's special about typing que which brings you to a special mode called quick mask mode is watch this. I could grab my paintbrush tool and with my paint brush tool, I can paint right now. If I paint with white, it removes the red stuff. And when I turn off quick mask mode, whatever doesn't have red on it will be selected. So that area where I just painted became selected that cute. Or if I paint with black, I can take away the red stuff. And when I take away the red stuff, I'm not Take away. Add to the red stuff. Since the red indicates with not selected, I just change the selection so it no longer had something there. What that means is I can come up here and use my paintbrush. If I get a small enough brush, I'm gonna paint with White any time I want to remove the red stuff. I can come up here and just manually paint to change this. Let's just say whatever selection tools I worked with just completely failed me here. So I'm gonna manually do it there. When I typed letter Q to turn it off My selection reflects that change that I've made type queue again. You go back into that mode so I could come over here. And if I want to remove the red stuff, I could just paint like this to remove it. There's a few ways you can cheat when you're painting when you're painting, usually just get free form paint like this. Well, check this out. I'll choose. Undo if you click and let go and then hold down the shift key and click somewhere else connects the dots. It snaps a straight line between where you're clicking me. Undo those didn't need them and let's see how I could use it here. Well, I move my mouse right up to the edge of her shoe click. I hold down the shift key. I click further down right when my mouse is aligned with the edge and then I go further down Shift, click, shift, click shift like I'm not gonna be absolutely precise here, but I usually would be I'm just trying to show the overall concept. So I switched between painting with black and paying with white quite frequently. When doing this, for instance, Here, I need the paint with black, so the red stuff gets put in there to switch between black and white. There's an icon that's right here, which means switch these two colors, that little a road icon. I never click that a red icon, though, because there's a keyboard shortcut for it. You just press the letter X o by itself, X X means exchange so I can come up here. I hit the letter X to get black to paint with and I paint in right where I need it. I might hold down the shift key and connect the dots kind of thing. I typed letter X again, and now I can take away the red stuff because maybe I messed up a little bit too much, that kind of stuff, and so I can come in here and look around at the various areas where it might be messed up here. I need to paint. Black is black, is what adds to the red stuff. I see black is not the color I'm about to paint with. So I had X and I come in here, see if I can paint around these various areas and sometimes I'm never gonna get a brush small enough to get into that tight little spot there, so it on up dealing is just paint with too big of a brush like that, and then just hit X, which is gonna take away the red stuff cause you're painting with white. Just take away like that. See how I got into their. I just got a lot of over spraying. Took away the over spray X to get black to be the color and painting with. Come in there, fix this, get a larger brush, then and then finish this if I want to. But you get the sense that one of my automatic selection tools might have been very helpful for the initial selection. But then, in the areas where it didn't seem to quite perform the way I needed it to, I can come in here type of letter. Q Q is what turns on quick mask mode in quick mask mode. Means view my selection as an overlay, a color overlay, and it's easier to figure out where it's a selection messed up because I can see where does the red not match up like where her hair is? You see a lot of her hair covered in red. That means a lot of her hair is not selected. There's other things we would have to use for her hair. I'm going to type the letter Q to turn off Quick mask So Q all by itself is quick mask, and so I find that to be overly useful. So now let's say we add a layer mask to this so it actually removes the background. I'll go to the bottom of my layers panel, click on the quick mask icon, and we have our mask. But then there's a little bit more to know about those masks. Let's see a few things we can do with them. Sometimes it's useful to turn the mask off to look at what used to be the full contents of that layer. I can do that by moving my mouse on top of the mask in my layers panel, and all I do is I hold down the shift key, which I have held down right now, and I click on it and you see the big red ax that appears in it. That means it's temporarily disabled. It's no longer affecting that layer and therefore I see the entire contents of the layer by shift clicking the mask a second time and it turns it back on. And so I could do that. Look at her hair and see how bad is this and see how we're missing a lot of it. I can also view this as a red overlay, just like we had that thing called Quick Mask. And I do that by pressing, not the letter. Q Q. Onley works when you have a selection on your screen, where where the edges of it looks at that little dash line that indicates a selection. If it's a mask instead which you need to do is right above the returner. Inter key on your keyboard is the backslash key, not the Ford Slash key that used for typing and website address is the one that goes the other direction backslash. If I'm working on a layer that has a mask and I type just that key all by itself, it'll show those red overlay now might be a little bit of a stretch, but I think it's overly helpful, but you can combine the two ideas I just mentioned, so I'm gonna shift click on the mask to disable it so I can still see what used to be there and then oppressed the backslash because then I can actually see the old background. And I can say, Where does this not match up with the old background? I could possibly come up here to where the hair is and see G's. At least here. I'm gonna fix her earrings, come in here and get a little small brush. Paint or hearing should be to bring it back, knowing that the area covered in red right now is the area that will be hidden when I turned that mask back on. That's what the red indicates here. It's exactly the same as quick mask mode is just not called quick mask mode because quick mask mode is on Lee for working with selections in. This is not a selection. Its a mask. A mask is something attached to a layer. It doesn't look like those little dashed lines to get out of this. I just need to do the same thing I did to get into it, which means I hit back slash again to turn off the red overlay and I shift Click on the mask again to make the mask active again, but we really need to fix her hair. The hair's looking terrible with that. Well, there are some special features for dealing with hair. I'm not gonna be able to get into them all that deeply, though, because here we're in a fundamentals class. I have an entire entire one day class just unmasking here. We're only gonna spend, like, a date or not day an hour on it. It's nothing like a full day. And so if you need to know a lot more detail about how to deal with hair and other things, then look at my other classes I have on creativelive. There's one called advanced Masking. And in that class I'd show you how to do here. What? We have enough time to truly do it justice here. I'm just going to give you a little hint on how to accomplish it after I have this basic mask which is removing the background. But it's not very good where the hair is. I'm just gonna look in my layers panel and make sure that what I'm working on is the mask. So you see the corners of the master highlighted, so I know that's what's active. Then I'm gonna go to the select menu, and I'm gonna find a choice called Refine Mask. That's only going to be called Refine Mask when there's a layer active that has a mask on it. I'll choose that in a dialogue box appears with all sorts of options on it. I'm gonna ignore every single one of those options because the other thing that this does is it gives me a special tool. It's right here. It's automatically turned on the moment I choose Refine Mask. I don't have to click on that. It's already pushed in, but that makes it so if I move over my image, I'm using a special brush, and with that special brush, I paint over on Lee the areas where the hair looks messed up. It's gonna paint like this. And when I let go, photo shop is going to have control over what happens Onley where I painted and it's gonna have control over what happens in a way that it does pretty darn good with hair. So let's see what happens when I let go see all those little hairs Now, I only did the right half of the photo. I still need to do the left half. We're gonna go over here. I'm gonna try not to get too much over spray on her body. But I'm gonna paint out here wherever the hair looks weird, and I need to extend it out. So I see all the hairs because photo shops only gonna have control where I paint. And if I don't paint far enough out is gonna leave that hair hidden out there. So I need to kind of pain out here until I notice that the hair ends. I let go into recalculate set. And so I paint around here as well. Make sure you get all those little flyaways and things. Now we're here. Doesn't look too darn bad, doesn't. And when I'm done, I simply click. Ok, so now we have her with the background gone. So what did we end up using here? We used the quick selection school. I thought the background was simpler than the subject. So I started by selecting the background in choosing inverse. Then after that, because it messed up a little bit. We viewed either the selection or the mask either one as a red overlay. So I could see where is it messed up? And I touched it up with a paint brush tool. When you paint with black, it adds more to the red stuff. When you paint with white, it takes away the red stuff. The red stuff is called quick mask mode. If you were working on a selection, so it looked like a dash line right before he turned it on. And it's just viewing the mask is an overlay. If it's a layer mask, it's just doesn't have a special name. Um, it was the letter Q for quick mask, and it was the backslash key on your keyboard. If it was a mask to disable the mask, a shift clicked on it. Yeah, one of the other thing that I should have mentioned earlier that would have given us a better looking at a result was, Any time you're in the quick selection tool, which is this tool at the top of your screen turned this on. I wish I would have turned it on here. It's going to give you a cleaner looking and result, and it would have given me a much better looking and result when were down by the shoes and everything. If you noticed when I showed it is a red overlay, it didn't perfectly match the The edge was just look a little crude. That would have given me a much smoother look. It's a little bit mawr processor intensive, though, so some people leave. It turned off because they see a little watch symbol showing up, telling footage, telling them that photo shop hasn't caught up with what they're doing yet. But it does. It does give you, ah, a higher quality and result.