Masks from Selections


Adobe® Photoshop® CC® Bootcamp


Lesson Info

Masks from Selections

One of the next things that we have are masks that we can make from a selection. So here is a good image to use for this. This is a portrait my wife took for me, specifically for this. You gotta set yourself up for success when you are teaching, right? So what we're going to do is we're going to use something called, there's a selection in here that is an intuitive selection so we've moved out of manual selections and now we're moving into more of the automated selections. They're a little bit more intuitive selections. One of them is called focus area and I'm going to show it to you because we need to look at this as a valid selection but it's also a very difficult selection to make perfect. So if we were to go to focus area, what this is going to do is this it's going to try and make a selection that is, that's on the area that is in focus. So right now the area that's in focus is going to be my head and my shirt and my hands and the background is then going to drop away and it's aut...

omatically going to make that selection for me for what's in focus. Now the problem here is that if you're working with something like a 1.8 lens on a portrait and you're right on the eye and there's a lot of bokeh and soft focus happening around that face, it might be more difficult for Photoshop to find that in focus range and if that's the case, you have an in focus range slider here that is going to help you find that area that you want to have selected. So if I move this in focus range up, anything that is in white is basically not going to be selected. Those are areas that it's just not going to select so if I were to press okay on this, I would look like I don't know maybe a robot or something. So what I'm going to do is just move this up a little bit and that actually, if I press control and space bar, I can move in. It's actually a pretty darn good selection. So usually that focus range can be difficult to work with if you don't have the very precise parameters of the lens that you are using. If you're using a 1.8 lens or a 2.8 lens or something that's got a lot of bokeh and soft focus to it, it can be difficult for this tool to find it. With this, I think it was at F4 so it's a really good focus to find that nice range between it. If we were to, what we can do here is we can select what we want this to output to. We can say do we want this to be it's own layer mask, do we want it to be a new layer, do we want it to just be a selection so that we can decide if we want that to be a new layer or do we want it to be a whole new document or a new document with a layer mask? So it's giving us a bunch of different options as to what we want to do. If I'm working with this image and maybe I wanted to replace that background with something else, I might say let's just make this a selection but there's also something down here called select and mask. And select and mask can also be one of those tools that's kind of difficult to use but when we pop over to select and mask, what it's going to do is it's going to give us what this would look like on whatever background we have set up here in the view mode and it gives me a bunch of different options as to what I want to do with this selection that I've created. We still have not created a selection yet. We made the focus area and now we're using select and mask with that focus area to make that selection a little bit better. So if I were to turn this to overlay, what we're seeing is that anything that's in red are areas that are gonna basically disappear, that I'm going to mask out and my selection is going to be anything that is not in red. Marching ants is going to be typical to what that selection would look like if we were to use any of the selection tools. Onion skin, this one allows you to see a little bit of the background through the selection that we're making and adjust the transparency so do I want that to be less transparent in the background or more transparent in the background. The onion skin is a pretty cool one to use. The other ones that are pretty helpful are black and white. This one will show you exactly what that mask is going to turn out to be once I make that selection. Anything in white will be the selected areas and anything in black will not be selected. So if I go ahead and change this to on layers, if there were a bunch of layers underneath this, when I pressed on layers, it will show me what this selection looks like with anything that is underneath of it.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018


1Bootcamp Introduction 2The Bridge Interface 3Setting up Bridge 4Overview of Bridge 5Practical Application of Bridge 6Introduction to Raw Editing 7Setting up ACR Preferences & Interface 8Global Tools Part 1 9Global Tools Part 2 10Local Tools 11Introduction to the Photoshop Interface 12Toolbars, Menus and Windows 13Setup and Interface 14Adobe Libraries 15Saving Files 16Introduction to Cropping 17Cropping for Composition in ACR 18Cropping for Composition in Photoshop 19Cropping for the Subject in Post 20Cropping for Print 21Perspective Cropping in Photoshop 22Introduction to Layers 23Vector & Raster Layers Basics 24Adjustment Layers in Photoshop 25Organizing and Managing Layers 26Introduction to Layer Tools and Blend Modes 27Screen and Multiply and Overlay 28Soft Light Blend Mode 29Color and Luminosity Blend Modes 30Color Burn and Color Dodge Blend Modes 31Introduction to Layer Styles 32Practical Application: Layer Tools 33Introduction to Masks and Brushes 34Brush Basics 35Custom Brushes 36Brush Mask: Vignettes 37Brush Mask: Curves Dodge & Burn 38Brush Mask: Hue & Saturation 39Mask Groups 40Clipping Masks 41Masking in Adobe Camera Raw 42Practical Applications: Masks 43Introduction to Selections 44Basic Selection Tools 45The Pen Tool 46Masks from Selections 47Selecting Subjects and Masking 48Color Range Mask 49Luminosity Masks Basics 50Introduction to Cleanup Tools 51Adobe Camera Raw 52Healing and Spot Healing Brush 53The Clone Stamp Tool 54The Patch Tool 55Content Aware Move Tool 56Content Aware Fill 57Custom Cleanup Selections 58Introduction to Shapes and Text 59Text Basics 60Shape Basics 61Adding Text to Pictures 62Custom Water Marks 63Introduction to Smart Objects 64Smart Object Basics 65Smart Objects and Filters 66Smart Objects and Image Transformation 67Smart Objects and Album Layouts 68Smart Objects and Composites 69Introduction to Image Transforming 70ACR and Lens Correction 71Photoshop and Lens Correction 72The Warp Tool 73Perspective Transformations 74Introduction to Actions in Photoshop 75Introduction to the Actions Panel Interface 76Making Your First Action 77Modifying Actions After You Record Them 78Adding Stops to Actions 79Conditional Actions 80Actions that Communicate 81Introduction to Filters 82ACR as a Filter 83Helpful Artistic Filters 84Helpful Practical Filters 85Sharpening with Filters 86Rendering Trees 87The Oil Paint and Add Noise Filters 88Introduction to Editing Video 89Timeline for Video 90Cropping Video 91Adjustment Layers and Video 92Building Lookup Tables 93Layers, Masking Video & Working with Type 94ACR to Edit Video 95Animated Gifs 96Introduction to Creative Effects 97Black, White, and Monochrome 98Matte and Cinematic Effects 99Gradient Maps and Solid Color Grades 100Gradients 101Glow and Haze 102Introduction to Natural Retouching 103Brightening Teeth 104Clean Up with the Clone Stamp Tool 105Cleaning and Brightening Eyes 106Advanced Clean Up Techniques 107Introduction to Portrait Workflow & Bridge Organization 108ACR for Portraits Pre-Edits 109Portrait Workflow Techniques 110Introduction to Landscape Workflow & Bridge Organization 111Landscape Workflow Techniques 112Introduction to Compositing & Bridge 113Composite Workflow Techniques 114Landscape Composite Projects 115Bonus: Rothko and Workspace 116Bonus: Adding Textures to Photos 117Bonus: The Mask (Extras) 118Bonus: The Color Range Mask in ACR


a Creativelive Student

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Sonya Messier

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!