Lessons

Lesson Info

Masks and Selections Part 2

here is not that I want to remove the background. It's that I want to put my own pictures inside these frames. This is a picture taken in Napa Valley in California and I want my pictures in these frames. I look cool hanging outside as if somebody had it in their backyard, out in the weather. So I'm gonna use the quick selection tool to do this. But first, let's get a picture to go and put in that one of these. So I'm gonna go to bridge, and I'm just gonna go choose any old picture. I don't really care which one. He got a picture of a lion in. In fact, I prefer to drag that picture over from bridge because remember, when you drag it over from bridge, it automatically starts allowing you to scale and rotate it in. So instead of just double clicking on it to open it, I dragged it over. It's somewhat overlaps that now that picture frame those bent because of the lens that was shot with this might have been a fisheye lens because this looks really curved and I'd really like the picture to b...

e kind of curved. So it looks like it's being distorted as well. So what I can do is go to the edit menu and that's where we had free transform. We're already in that. But if you choose transform, you have more choices. And one of them is warp. Remember, before we worked a wing on the owl that we made you come or picture, you know, I'm gonna do is kind of pull out this edge here, try to get it to bend a little bit that you pull in this edge a little and you can also grab the corners, move them around a bit. You see how your kind of bending the photo? I'm just gonna try to get into destroyed a little bit like that picture frame does. You can grab on the sides or the corners close enough when I'm done. A press returner enter now. I wanted to show up just inside the picture frame. Well, I can't see what's inside the picture frames, so I'm gonna turn off the eyeball icon for this layer to hide it, and I could work on the layer that's underneath. I'll use my quick selection tool to select what's there and it's not completely precise. If you look at the frame, it got selected somewhat, so I can either click on the icon up here that takes away from things. Or I can use the keyboard shortcuts I mentioned earlier, which was that you can hold on the shift key to add where the option key to take away. Either way, I'm holding down the option key, which means take away its all time windows. Say, get rid of that part Now I'm gonna go back to the image that I wanted to put in there. That's in the layer above. So click on that layer, alternates eyeball back on to make it visible. And now let's add our layer mask layer mask only. Keep the area that selected so boom it's inside the frame, but it's cutting off the ear at the top of the lion. So let me use the move to on reposition it so hopefully we can get it where we don't cut off the top. Watch this, though. When I click and drag Oh, what's happening is if you look in the layers panel, I'll choose Undo. Do you see that two things are moving at once the mask, which actually lines up with the picture frame. I don't want it to move in the picture itself, And that's not what I need. Do you see a little link symbol in between the two? That's what's causing them both to be transformed at the same time. If I simply click on it now, they're no longer linked together. I can move this separate from this. So if I come over here, I need to just tell it what do I want to move the mask or the image? And now, if I used the move tool, I could move it around within their and get a position wherever I'd like. I noticed, though, that my mask is off a little bit. Do you see this picture frame above? I think I can see it through there, cause this doesn't look right at the top to me. You see, that's this picture frames showing behind. I'm gonna click on the mask then and in order to have something show up with a mask, you grab the paint brush tool in paint with white. So I'm gonna go over here and I'm just gonna paint with white White will allow the lion picture to show up. I'm gonna click right here, paint up into the corner. I'm holding shifts of connects the dots. See if I can touch that mask up to say, Hey, do it all the way up to here. I'm running out of lion picture. That's why it's not coming back. When I'm painting up here. That's actually the edge of the picture. I use my move tool, and I don't want to move the mask because that's supposed to line up with with the picture frame. I need to click on the picture of the lions, and I could move him up to fill that little space. All right, now we get it in there, so you see how he could do that for each one of these Wanted to you. But it's interesting thought process we have to go through. Just beware that the mask is usually lined up with this. It usually has that link symbol on, so they both move. If this mask is instead not lined up with something in this layer, it's lined up with something underneath. In this case, it lines up with this picture frame you might need to turn off that with you. Want to reposition things? All right, let's, uh, do some more trying to think of which one here. Well, here's another example of that. Here. I have an IPad and I want to replace the picture that's on it. So let's go in. This one is when my wife created. It's made out of a bunch of layers. We don't need to see those layers at the moment, so I'm actually gonna combine these layers all together. If you go to the layer menu. There's a choice in here called Flatten Image if you ever open an image that has layers and you like the look of the end result, but you don't need to see the individual pieces it was made from, If you choose flatten image, watch what happens in the Layers panel. It just combines them all together into one thing that's called the background. Now there is another choice into the layer menu. If I choose, undo a choice that is called merge visible, and a lot of people don't know the difference between merge visible and flatten will merge. Visible would combine together the layers that have the eyeballs turned on, meaning the ones you can actually see within the document. But it would not combined together the layers that have the eyeballs turned off. They'd still be sitting there also when you choose merged, visible if the background on your image. If the area outside of the IPad looked like a checkerboard, which means it looks like it's empty when you choose. Merged, visible. It wouldn't do anything special there. It would still look like it's empty looking like a checkerboard if you choose flatten image. If you have any part of your image that looks like a checkerboard, which means it's empty, it get filled with white. It, like it says, I'm done and make us permanently done. Simplify it down to its simplest form. So this is why I wanted to start with. Just so you don't get confused about what's going on in the layers panel. Let's go over the bridge and let's pick a picture to put in there. Where should we go this time? Let's go toe Myanmar. Let's see, I'm gonna get a picture of who actually, I think I could have some fun ones in here. I'm just going to use this one. I double clicked on that and opened. If I wouldn't drug it over instead. Would be nice because I have this automatic scaling turned on already and I wouldn't have to drag it over from here so I can use the move tool. Drag it over or I can say, Man, I didn't really mean to double click on that. It has come back to bridges and drag it over Dragon over. It's just easiest way in this case. It's a pretty low resolution image because much behind it is very high resolution. It's not great that I have to scale this up, but that's all right for now. OK, there we go. I want to get this to fill just where the IPad would have its screen. So I need to turn off the eyeball in this layer so I can see underneath it. I work in the layer that's underneath, and in this case I don't think the quick selection tools gonna help me because the picture that's already in there it pretty much is identical to the frame on the IPad. So I don't think he will be able to see the difference. So This is when I might use my marquee tool. Come right up here to the corner, click drag down in the opposite corner, go and then I want to use that to limit where the layer above is. So I click on the layer above, turn on its little eyeball, and now let's add a layer mask so it shows up on Lee within the screen. But now I want to frame it. I don't like that it's being cut off up here. It's bumping into the edge. Well, the problem is, if I typed command T to transform it to change its size, I'll do that. Command T. But what's happening if you watch my layers panel, you see that both the mask and the image you're transforming any time this mask lines up with something underneath instead of something within the image, the same layer. Turn that thing off when you're done. Now I can either transform the mask or the image, and so now I can come in type command t transform that reposition it whenever I'd like. When I'm done, I hit, return or enter. So just remember the linking of the mask and sometimes use a simple tool like the marquee tool when you need it. Sometimes you use the quick selection tool. It's whatever it would help. And you can always combine those tools together. We have any questions thus far. You know what's up here, Ben? We've always got a little questionnaire to write in our pockets. Absolutely. So, um, Belo And I'm not sure if you show this. Is there a way to change the color of the quiz? The quick mask from red to some other color? Yes, if you're working on something. And in fact, I might have an example here. For instance, if I had this image Ah, end. Let me get this to what I used to have before. Okay, here's a selection on top of this. If I typed letter Q. It's somewhat hard to see the red quick mass because we have a red picture, and so why not be the most ideal color to use typing? The letter Q is a shortcut when you end up going into quick mask mode. If you look in the lower left of my screen, almost cut off in the corner, you see this icon here watch what happens when I typed letter. Q. You see that icon changing. That's actually the quick mask icon, and if you click on it, it does. The exact same thing is typing the letter. Q. So that is quick mask, and if you double click on it, double click on that. You get the options for it in the options you can choose the color. So if I click on this little square, I can choose any color I'd like. And the opacity is how much you can see through that color to what's underneath if you want it so you can't really see through it. You could increase this number. But now, when I typed letter Q C. It's a green overlay, but what I did to accomplish that is in the lower left, I double clicked on this icon in that brought up the options. Terrific and clear would like you to if you can't reiterate what tool you use to fix the woman's hair. Ah, I used something called Refine mask. Get over. I might be able to use it here on this bird. It works on anything that is furry, feathered, fuzzy or Harry very. For all those things. So in this case, where it's feathered and stuff on the edge, this might not look perfect. Have it as a mask. Here. The mask is what's active. So you see the corners air highlighted. I went to the select menu, and I chose a choice called Refine Mask. And when I got to refine mask, I completely ignored this dialogue boxes there, and I just move my mouse on top of the picture, and I painted wherever I thought it didn't look good in. That's where I gave Photoshopped control over. What happens there in it can sometimes do a better job in fixing things that are furry, feathered, fuzzy or Harry, but not on things that are crisp edged. It will not do a good job with exits just not designed for it. The only problem is, when you first get into this, it will show it with a white background in here where you originally had something else. There's a setting for the preview. It's this little square at the top of the refine mask dialog box, and if you click on that, you have different settings. If you choose on layers, it would show you as if it was in this document with whatever other layers air there. You might want to use that setting. Click. OK, now this image I screwed up on because look at the head. Something looks missing. So that's when I grab my paintbrush tool. Painting with white brings things back, and I could paint that back. The problem is, I can't see how much more needs to come back, and that's when you hold down the shift key and click on the mask to disable it. Okay, and I can paint on it right now. But it's hard to tell where I've already painted and you know where it ISS. So that backslash key is what gave you the overlay. So then I can see. Okay, I see part of the head missing in there. I could paint fix it. I can hit. Turn that off. Continue painting. Sometimes the red isn't helpful. When I'm done, I hold down the shift key and click on the mask again. Turn the mask back on so you can touch that stuff up. But it takes practice doing this mask stuff, you know, it's it's ah, even people that have used photo shop for many years. We're still getting better and better at masking any other. Yes, sir, Georgia can't find the smart selection tool on her screen. Is there a drop down where you can find it? No, it's called the quick Selection tool. If you mean that the tool I was painting with, I'll show you two different things she might be talking about. If it's the quick selection tool she can't find, then what could be is there's actually more than one tool hidden in this slot. If you click and hold down. It also contains the Magic Wand tool so hers might look like a magic wand. And if so, click and hold on it and then you'll be able to switch to the quick selection tool. If, on the other hand, they were talking about going to the select menu and choosing refine mask, if they couldn't find that, then it means that they're not working on the layer that has a mask. Instead, there is no mask to refine, and so it might not show up in the menu. But I'm assuming she was talking about the quick selection tool. Yeah, perfect. And then T dragon would like to know what's the shortcut for changing the size of your brush. The square bracket keys Will square brackets or holding down on a Mac control and option at the same time in clicking. That's what gives you this little overlay where you see a red overlay and you can drag to change the size. Thank you. All right, let's remove the background of something else and let's do it in an interesting way, my wife is getting into hand lettering with fountain pans and with normal pens, and this is something she made up. What I would like to do to is turn it into more of just a graphic that isn't doesn't look like it was his drawn on paper. Instead, it has textures and actually want this graphic to be white instead of black and all that kind of stuff. So let's see what we can accomplish. Well, do you remember quick mask mode? How if I had a selection looked like this and I typed letter Q. It overlays the rest of the image with a color to indicate where it's not selected, and I could come in here and paint to change it over here in paint like this, and I take the letter Q to turn it off. And I just changed my selection type queue again. And if I paint with Black, I could add to that stuff type letter Q to turn it off, and that changed my selection as well. I'm gonna double click on the quick mask icon and change it back to read just because it's the default. And I don't want you guys get confused by seeing green saw, double click and just changes back to read. But let me show you that when you're painting with black or white like that, you're not limited to painting when you have quick mask mode turned on. It's like working on a black and white picture. You can do anything you could do in a black and white picture. Let me show you how that would be useful. So what I'd like to do here is select the graphic that's here. So here's how I'm gonna go about doing it. The first thing I'm going to do is get rid of all the stuff that surrounds it. You can see the wooden table top that this was photographed on. Well, I'm just gonna use my marquee tool. I'm going to make a rectangle around this like this. I'm gonna go to the select menu and choose inverse to get the opposite. And then I want to fill that area with white just to clear out what's there. There are many different ways of doing that. One of them, though, is to go to the edit menu and say you want to fill it. If you didn't have a selection, it would fill your entire document and I can say Fill it with white. Then I don't need the selection anymore, so I'll get rid of it. Now. I want to adjust this so that the graphic we have is solid black in the background that is on its solid white. So we don't have any shades of gray like this great paper you're seeing at the moment. To accomplish that, I'll go to the image menu and choose adjustments. We haven't really adjusted any pictures yet, but the choice called levels should help us here. If I use levels, there's a bunch of different controls in here. We're only going to use two of them down here all the brightness levels you could have in a black and white picture. If I bring this slider in like this, it's gonna force whatever is directly below this down here, toe white in anything that's brighter than it toe white. So if I were to pull this way over here, it would take anything that used to be in the picture that was this bright or brighter than it and make it white. Let's see what that looks like. What? I'm looking at the picture, and I just pull this in. Eventually, that whole background should go white. All it's doing is saying, Here's the brightness range you could have had to begin with were taking anything that's directly below this. Anything that was this brightness level or brighter in making its solid white. There's even a way where you can tell exactly where in your image it's gone white cause right now, I can't tell if that's white right there or there can't completely tell there's a key. You can hold down that if there's ever more than one feature can that could do a button or a slider or anything else, you hold this key down. It's the same keyhole down. If you want to duplicate a layer when you're dragging it, or if you want to move a layer style from one layer to another, move a copy. You might remember. It's the option key. Alton. Windows. Well, I'm gonna hold that key down right now, and I'm gonna click on the slider we've been using. Click and look. We get a different view right now. It sends me into a special view where I'm on Lee, going to see solid white, where it truly is solid white in the picture, and wherever I see colors or black show up. It's not solid white, so I'm gonna pull this in until I see solid white all the way down into that corner like that in the Let Go. And it just showed me what became solid white. I know it's kind of a weird mode. It's your like what's going on, but it's useful. I could do the same thing when I pull in the opposite slider. The opposite slider forces areas to black when I pull it in. What it's doing is it's seen. Let's take whatever straight down below that, whatever is this bright in the picture. Make that black along with anything that's darker than it. So all this stuff in here would become black, and I can see exactly what's becoming black by holding down the option key when I click on it. Alton Windows And now on Lee, things that are black Show up and you see nothing showing up. Yet that means that that sketch was a shade of gray. It wasn't black. If I bring this in, eventually, little bitty areas will start turning black. The colors means it's getting close to black. And I could pull this over until I've seen the majority of that graphic looking black about there and let go. And now I know if accomplished what I was looking for, which is to make the graphic itself black in the background. White. Do that one more time because you don't always have to think as much as I did when I described everything. Here is all you really need to do. Do this technique. If you look at this bar chart thing called a history ram, just move this slaughter until it's almost at the end of that hump. Move this slaughter until it's at the end of that hump. You're good. That's all you gotta do. But if you want to know what was going on and be able to see it, that's when you can hold down the option key and drag it over and visually look at it. But in the end, I ended up with something about like that. Now I'm gonna select all and copy. The only reason I'm selecting all is because copy is always great out. It doesn't know how much of your image to copy. So in order to make copy, show up, I need to choose, Select all first, then edit Copy. All right, now, we copied this thing. And here's where it gets to be fun. Remember, Quick mask mode. You remember how if I had a selection on a type of letter? Q. Get the red overlay and I could come in here and paint and influence what that selection looks like when I type a letter. Q. It changed the selection, right? Well, why not just type que and then choose paste to make it as if I just painted that graphic by hand? Right now on the quick mask, it's hard to tell right now, but the graphic itself is completely covered in red. At the moment, it's the quick mask. It's as if I painted that just now. If I typed letter Q to turn it off, I just got a selection. What I have is it just selected all the areas that are solid white within the picture. It's actually the exact opposite of what I want, so I go to the select menu, choose inverse. I now have an exactly precise selection of this graphic, and it is absolutely precise because it is made from the graphic itself. It's as if I painted that exact graphic when I was in quick mask mode. Kind of weird. Now you could add a layer mask right now, and if you had a layer mask, you'd only keep the part that you have selected. Let's try that. Cool. I'd have it just sitting there, But there is a problem with that. Problem with it is if the edge of this has any softness whatsoever in anything you photograph, her scan will have some softness on the edge. Then this selection had that same softness on the edge, and it makes it so If you ever put anything behind this, you'll see a little hint of the old background kind of clinging on the edge. It's just where its soft on the edge, you still have a hint of the background mixed in, so I'm gonna choose. Undo it. If I did not add a mask, and instead of doing the mask, I'm going to go to the bottom of my layers panel. Click on the half black and half white circle and say, Hey, let's create a solid color layer, usually a layer just full of a solid color. But since we have a selection, it's only gonna fill in the area that selected, and I could choose any color I want for this. I'm gonna choose kind of a wine color click. OK, and now we've completely recreated that logo, and we could actually throw away the bottom layer so we have it sitting there now. There's no hint of the old background there, because this layer contains only a solid color. It's what's called a solid color layer. It can't contain anything but that solid color. It's a little weird. I know it's what I've done here, but I'm actually gonna do it a second time because I know a lot of people could get lost with. So here's what I did first. I wanted to get rid of the wood that's out there. I could just grab my paintbrush if I wanted to paint with White, just say, Get rid of holding, shift the background, Keep it simple Then I needed this to be white in that to be black levels could do that. If I just pull this the end of one hump, pull this to the end or just shy of the end, and that does it. Then, in order to get it selected, its kind of a weird technique that a lot of people aren't comfortable with. But it works every single time you do it so you don't have toe understand every little part of it. You can just do the steps that it'll work, which is select all copy Type a letter Q to turn on quick mask and paste and then turn off quick mass. But I think you you're going to get a selection of all the white areas. It works every single time, as long as your graphic was a solid color graphic on a white background that selects the background, though I choose inverse to get the opposite of it and I get my graphic, Then I can create a solid color layer. She's a wine like color here and throw away the original. If you actually follow those steps, it works every time. Even if you don't understand every little intricacy of how it was done, then we could do other things in here. To spice this up, Um, I could grab a texture to put behind it. We should have a wine colored one, but I don't use green. Just drag this over, move it down in my layers stack. So it's on top. I could add things like Drop shadows or anything like that, and I want this look more like a coaster or something. So what I could Dio is maybe use my shape tool and I'll use the one called the Lips. And I'm actually going to draw like this a little round thing, and with this little round thing for now, put it underneath. How? Click on the name of this layer and drag it under. I wanna have ah, a border around it so go to the letters F X. Remember, that's where we got to drop shadow and other things and remember it within. There was a choice called stroke. Stroke means draw line, so I'll tell it to stroke my circle, but a line around it. Click OK. And then earlier today, somebody asked the top of the layers panel. There's two choices that seem to do the exact same thing. Lowering the opacity and lowering the Phil look absolutely identical in always 98% of the time. But there's one time when these two commands act differently. In that time is any time you have effects applied, let me show you what the to do when you have effects applied. If I lower the opacity setting, watch what happens to the contents of this layer and bring it back up. Now that little circle you're seeing, that's just a placeholder that tells you where the edge of this object is. If I click away on a different layer, that would go away back, so that part doesn't actually print. Bring it back up. But now watch what happens if I lower Phil instead of opacity. My lower Phil see what happens when I get it all the way down. It's now at zero. Look at what happened when it said zero. The true contents of that layer, the text or the circle or paint or whatever happens to be on that layer goes away. But any effects that have been applied to it remain at full strength, and that's the difference between opacity and fill. Opacity means the contents of layer, along with the effects that are applied to it. Reduce it. Phil means just the true contents of layer, not the accessories that are attached, not those strokes and bevel in and bosses and drop shadows and all that kind of stuff. If it was something that was applied by going to the bottom of my layers panel and clicking on the letters FX, these things would stay at full strength if I just the Phil setting and that's the only time you're going to notice. A difference between those two is usually when you have a layer style a plot, and so that's why it would be nice here. All right, so we have gone through quite a bit here, get questions, comments wondering if you wanted to talk about flow as well. That's the other similar, right? So, yeah, we might as well cover it here. Um, So there are two features two sets of features that seemed to do the exact same thing and can be confusing in general in what those things are is opacity and fill, which we just covered. And the other is if you're in the paint brush tool or a similar tool, there's a choice of a pass ity inflow, and they're really similar. And they're like, What the heck is the difference? And I've seen it. Explanations of these on the Internet, especially recently that are don't at all explain what they dio eso. Let's take a look at what they do, So I'm working on an empty layer. I created the empty layer by clicking on the new layer icon, the bottom of the layers panel, and I'm gonna choose a color to paint with by clicking on my foreground color Lower left, I'll choose a blue just toe, make it obvious and grab my brush in. I'm just gonna paint. This is what it usually looks like. I'll use a soft edged brush. I just did shift in the bracket keys that softens it in with default settings. My opacity and my floor at 100. And what that means is the paint that I put down is completely opaque. It's not see through. It's not transparent or translucent or whatever. Where do you want to use for that? It obscures your view of what's underneath. If I'd like it so you could see through it, I can lower the opacity setting. I'm gonna bring the opacity setting down. Let's say to 20% were around there. Now I'm only gonna put down 20% of the color that I've chosen, so you're gonna be able to see through it 80% of the way to the background. So whatever's under it, so I click and you barely see any of this showing up. You can see the texture of whatever's underneath it. Notice that if I overlapped my paint strokes, it does not matter at all. It does not add up to any more than 20% opacity. This is being done underneath those other layers. I might as well move this up on top, so it's I can see that it would partially obscured your view of anything in there in order to get more than 20% opacity, I need to let go of the mouse button in click a second time to put like a second layer of paint down. So click. And now here is a second coat of paint up here where I've already painted. I've just kind of added it up. It's at the equipment to like 40 now, and if I paint down here where I've never painted before, it's the woman to 20 because it's never been implied before. But wherever I overlap from area that I painted on earlier, I've just doubled up the paints like a second coat of paint. But it doesn't matter how many times I go over it like this without letting go the mouse, but it's not gonna build up anymore. But if I let go of the mouse button, which I just did and click 1/3 time now I'm on my third coat of paint up here. Um, I my second coat of paint down here and I'm on my first quarter paint out this way because I never painted in that part before. It doesn't matter how many times have pain across this. It's not gonna add up to more unless I release the mouse button, which I just did, and I click again. Now we'll have four quotes here. We'll have three coats there, two coats there and only one coat there, so you see how you have to build it out. You have to release the mouse button every single time. So then let's clear this layer. I'm just gonna throw it away, credit new one, and let's instead bring flow down to 20. So instead of using opacity, were using flow. Now, now, the very first time, I just click and I started paying. It looks absolutely identical to when I was having my opacity. A 20. It is absolutely identical. But now watch what happens if I overlapped my paint strokes. I'm not letting go of the mouse button wherever I overlap. My paint strokes it builds up is if it's spray paint and you go just over another place again and it's just putting a second or third coat down. But I don't have to release the mouse, but in order to get that second coat, it just builds up, builds up, builds up does that make sense? The difference? Opacity. It's if I have it at 20 it's never gonna go above 20 without me letting go the mouse and clicking again with flow. That way, I get it to go above 20. It's just paint over the same area more than once. I don't have to let go of the mouse at all. But now how did the two work together? Because you can lower both. So what the heck if I have this set up, how does that work? Well, what this means capacity is what's the absolute highest I will ever get without releasing the mass. But in this means how much of this amount that I'm asking for. Do I get my first paint stroke? Think about that. I'm telling it, Max out at 50. But give me 20% off that 50 on my first paint stroke. Kind of weird. So here I get 20% of what I'm asking for, and I can paint back and forth, back and forth, back and forth to build it up. But the furthest it's gonna build up to is what the opacity is set to 50. Unless I released the most, and now it can add another coat of paint on top of that when I click. But it's only gonna give me 20% of what I'm asking for 20% of 50 and I can build it up again to another 50%. So it's kind of weird, So capacity verse is flow when dough, I use one versus the other. Most of the time I use opacity. I rarely use flow. I mainly use flow when I have a graphics tablet and I'm painting, and I wanted to look more like an airbrush where it builds up each time I go over an area. But I find if I use flow most of the time, it's too easy to accidentally overlap my paint strokes and get it to be more dense there when I don't want it to. So most of the time flow is at 100 for me, and it's just opacity that I'm changing. If you want to change these settings, you love keyboard shortcuts by chance. When you're in the paint brush tool number keys on your keyboard. 7 70% opacity to 20% opacity. 9 90% opacity in zero is 100. You know just the numbers. And if you add shift, you're gonna change the flow. Instead, type two numbers very quickly, and you could be precise. Okay, All right. So hopefully that someone answers their question in a long fashion, that probably more than they wanted. So let's do one other thing here. We've got a lot of these things where you've moved the backgrounds on things. Let me see if I can find the one I know. I still have it open somewhere. At least I think I do. I mean, it's the moment to find it. Right now, I have a lot of images open their arm or tabs than Photoshopped can show across the top of my screen. I know that because on the right side of where the tabs show up, there's this little double arrow, which means it keeps going, and if I were to click on that, it would give me a list of them, or I could just go to the window menu in the very bottom of the window menu. It would list all the documents I've opened. I could switch between them, but you can see I'm not very good at naming my documents. What the heck one contains her. You know there is. Ah, if you work with a lot of the office documents, there's a trick. It's not one that most people know, but just it's what I needed to use to find her. So I figured I should mention it. And that is, if you do control tab it cycles between documents have open control tab. So I did that until I saw her. That's what I want. Now. If I take her and use it in a brochure, let's see what would look like if I get this into another program like Adobe in Design, were illustrator or Web browser or anything. We're not going to see the checkerboard. The checkerboard is either going to be filled with white in programs that don't understand what transparent means or the checkerboard is going to be filled with whatever is on a layer or something else behind it. Just to show you what it would look like, I'm gonna put something underneath. I'll go to the bottom of my layers panel. We'll click on the half black and half white circle, and I'll choose solid color and I'm just gonna put white behind her. I just made a solid color layer. I'm gonna drag the solid color layer so it's underneath. That's what she looks like. Now you'll see this. So some catalogs where it looks like this. And if you ever do it will look like all the products are floating because without a shadow underneath it, there's nothing to hold that product to the ground. And so any time you move the background on something, if you're gonna show it in the woman to a catalog or something, you really need a shadow down there to give it the feeling that is grounded. If I turn off the mask that we have here all shift click on it. To accomplish that, you see the original shadow. Let's see if there's something we could dio with the original shadow to keep it just have her look like she's on a white background now. Had I thought of that ahead of time, what I would have done was duplicate the layer that she is on. Before I made the selection and I added the mask, but I didn't think of that at the time, so we'll just do a little bit extra work. What I'm gonna dio is click on this layer and I'm gonna duplicate it. There's a bunch of different ways of duplicating layers. You can drag that layer down to the new layer icon at the bottom of the layers panel, same icon that would create an empty layer. When you let go, you get a duplicate that's one choose undo. You could go to the layer menu, and there's a choice called duplicate layer. Or there's even one under the new menu, called larvae a copy. All three of those would in general do the same thing. They would duplicate that layer. So if you happen, have worked with layers before. Use whatever command you like to duplicate the layer. I don't care as long as you get a duplicate. Then I'm gonna throw away the mask on the bottom one so it doesn't limit where things show up. We'll just drag it to the trash and I'll say deleted. Also, I don't need this color fill layer down here just don't need it anymore. We're not going to use it because we're going to use the original photographs background instead. So let's look at what we have. Full original photo here, copy of the photo with a mask, limiting how much of it shows up. So it's only her showing up. If I turn off the eyeball in the bottom layer, you'll see it's just her on top. And then underneath is the original photo filling in the rest. We're gonna do everything else to this bottom photo. I'm gonna go to image adjustments levels. Do you remember in levels we could force areas toe white with the slider is not what we did on that logo that said Sip. And there was a way we could hold down a special key and see exactly where it's becoming white. I don't know if you remember the key, the same key used to duplicate things. It's the option key. Ultimate news. I'm gonna hold it down right now. What I want is the shadow to stay there, but everything else to turn white so I'll hold that option key down Alton Windows. I'll grab this upper right slider. It shows me on Lee, the areas that are becoming solid white. She looks normal because she's sitting on a layer above. It's covering up my view of what's happening underneath And I'm gonna bring this in until I see white go all the way around that shadow if at all possible Keep going Oh, the shadow disappears before all the white disappears in the left side So I'm just gonna try to get white to surround most of the shadow. So I'm gonna bring this in until that part that's in the lower right no longer merges with the shadow. Do you see that blob of blackness right about there? And I might continue a little bit further just to see if I can get yeah, about like that. Now, remember where you can still see information on the screen because that's where it's not white. I'm gonna manually delete out that stuff in the lower right corner and I'm gonna manually delete out that part that's hitting the left side of the photo. Just remember where it iss click. OK, I'm just going to use the paint brush tool and I'm gonna paint with white. Do you remember that down here? There was some stuff showing up when I was in levels. I'm just gonna paint with white to remove it, get it to be white, and over here you see the shadow. That's because there's a wall that curves goes up behind her, and she is casting a shadow on the wall. Well, if this is on a catalogue, that shouldn't be a wall behind her. So I'm just gonna paint with white over here. Soft, soft brush. Get rid of that. And I want this shadow to end before the end of the documents. All paint over there. There you go, huh? This only works when the image was shot on a white background. It began with, and we just need to blow it out, so you lose all the detail. The problem is when you lighten it up like I just did, you can easily see color in the shadow. There might be brownish or some other color that's in there, and I can see a hint of it there. So what I can do afterwards is choose image adjustments, and there's a choice called de saturate. Or you can use the choice called black and White. Either one doesn't matter. It will Paul the color out, so watch the shadow you see. Now there's it's only gray. If I choose, undo. There's no Brown and it left that trick on Lee works. If the background started out as a light shade of gray or white in. All we're doing is brighten it up so much that it goes solid, solid white. And we can have this. We needed to have her on her own layer, already isolated so she didn't get to bright. If I were to turn off the top layer, look at what's underneath her. That's the version of her that's underneath. But it takes a little bit of practice to get used to that technique, so I don't expect everybody to be able to do it. It's just nice to know it's possible. Thank you. But now we could put that on a catalogue page and it doesn't matter. I can come in here and make this page, you know, 10 feet tall and eight feet wine. Put it in the corner and you're not gonna be able to see where the edge of the photo is because the edge of the photos white the papers white. You won't see the edge, and so it can be special. So that's a bunch of techniques for removing the backgrounds on images and possibly inserting them in other documents. But it's a task that a lot of people need to do on a regular basis, and so I want to spend a good amount of time on it.