Lessons

Lesson Info

Adding Masks

so on. We made to adjustments one to bring it kind of the wrinkles on his eyes on his hair. Got it right. Or we could switch from just with his hair on and his hair looked great on his face. Went to dark. So let's look now at how we can use masks to block off partly effects. Who's familiar with using masks? You tell me what masks Only one volunteer from that? Yeah. It allows you to make selective adjustments to a specific part of the image. Yeah. Has it worked? Well, you'll use a brushing cook on the mask and you'll block out what you don't want to use or what you do want. Okay, Okay. You'll notice when we've won. We've created these adjustment layers that they have this little white box. If I hover over that, it's gonna tell me it's called the Landmass. Some now on all of these white. So let's reactivate this curve for second on one of some control points. Eso there. We've increased the contrast on if I fill this lame ass with black dio old delete to do that Sorry option Deletes that ...

will fill it with black. Alternatively, I could have used a brush to paint over it or the bucket talk to fill it with black. What effect does this curve have? No, I'm turning this layer. Romanoff. Is it having any effect on the original? It doesn't know because what we've done if we blocked the effect by filling the land mass from black, so when it's white, it has an effect. When it's black, it has no effect. So if I select a razor new on, let's make it hard brush for a second. Do this. No, it's totally passed the up. What? I don't know. It raised parts of the mask way. If we look at the master, if you ever want to look at a mask that you created, if you hold down the old key on, click the lamest thumbnail and it will bring up the mask. So the mask is kind of it's all it's all numbers kind of is a physical. You can think of it as a physical thing so you can't go through the black bit. You can go through the white so it's kind of life you mention. It is a sheet with holes. Gotta have it now on. The effect goes through the white bits, but not the black kids. So what we get is it's working here, is working. It's working. It's working that we've cut whole students land now. Plenty of this. This doesn't look too on. What's the problem here? What's causing the heart? Yeah, So if we look at this mask again on, I'll explain hardness of rush in a minute. But what we've done is we've got very hard transition between the areas weather and the fact and the areas where there isn't. So I kind of disable that land mask again and we go back to where we filled it. We'll do now is change the brush. So I had a hard brush on harvest of a brush means how How defined is the edge. So when it sets a 19 we had it 99 9900. Got a very hard edge. I go back down to zero my name. Click on the image. What's happening now? The edges of the brush or feathered? Yes, if we look at the lame ass now, so I'll click again. You can kind of see it's transitioning from white to black So we're getting a kind of nice, A nice soft edge. It's kind of like airbrushing rather than using a marker pen. So what we're doing now is precious. You start to see, Knew how, weaken, fade these effects across the image. Right? Case, let's go right back to the start. And what we're trying to do now is we're gonna think about just in his face. Maybe, you know, it's kind of kind of his face is looking good there. Would you agree? Yeah. I don't like about rights. Forgot vice half a minute. Kind of good. What I can do now is I could get the brush tool. Um, oops. Uh, soft brush past 200 I could draw over the top of his head. Okay, so I've blocked the effect from the top of his head, and we were just his face. Yeah, like a sensor foe to return this letter on North name as soon as only affecting kind of his face and rest of the arrangements. No effects on top of his head. Yes. How did you reverse the mask From black to white, White to black when I started. So whatever it is when you started. Started with black. When you re creates an adjustment, land mask is always white. Okay, so it is kind of the full effect off whatever it changes. Like if you fill it with black, then you kind of cut the effect entirely. Okay, so you block the whole effect from happening. So what I did here, it starts out white. But I've used black to stop the man to stop curve effects in the top of his head. Is that kind of makes sense? Yeah, right. Okay, well, you do now is on if you commend click. Allowing us don't know it loads the selection that would create the same mask. So I commend clicked. And if I create another adjustment layer, if I create another another curve No, no, what you'll see is it creates a curve that has it on identical mask. Yeah. Okay, now, that's not what I want to do. I want to do some slightly different. Let's go back some command cookie. So if I create another curves adjustment layer now I have the same mask, and it will affect his face on the whole left side of the image. What? I'm gonna do now is go to the select menu on use in verse and you'll see Nan marching ends just round the top of his head. I'm now gonna crack because just like on you'll see. Now, can you see the lamb ask? Yeah. Yeah. So there's the layman's for this life, and there's the landless for this leg. So the layer with this curve increases the contrast in the bottom left damage wire as this one is going toe affect the top area of image, right? Why is it having no effect? Why is this lad do nothing? Because you made no adjustment to it because I might not change. Yeah, and another slip in a question. That's okay. Do you ever name these adjustment layers like hair? Or you certainly could do. Yeah, if you double click a lab. So, you know, do that No way could change the night. If you're working on a very complex image, it makes sense. Sometimes there's nothing worse than coming back to delusions. Got 25 adjustment leads and trying to find the one that was for that section of that window. I'm typically, if you got three or four is quicker to turn them on an office, and it is to give them names, but yet you certainly couldn't. Okay, so where are you keeping up? You all following along on doing this with the image? Yeah, right. Okay, so if I look is here again on just refresh you on picking a little hand symbol, it's kind of this top end of the curve here. So now when I add in some control points and just it I want to see happening is it's just his hands get infected This time there's no effect on the rest of the vegetal because we created this layer with kind of the inverse mask of this lower section. So if we turn next to off, you know there is the original image. There's adjustment for suffice, this adjustment for his hand. Now, the key thing is kind of this soft brush that we use now, A lot of people seem to think that you need to be very, very precise when you create a mask, and sometimes you do. If I'm trying to mask a building independent of the sky, then you're gonna need a mask that goes right along the edge. of the brick work, for example. But with things like this, where an area transitions into another area, so the light is kind of falling off his head on his face is darker. What you want is a transition that's kind of smooth. So all I did was used a soft brush, lower capacity to paint over the, But I didn't want affected Switch the inverse mask on an adjusted the top of my head as well. So you're getting similar results. This is kind of one of the things I was saying yesterday. You know, folks, shop isn't difficult. There's nothing difficult. That's process. There's nothing difficult about the masking, but it allows you to alter the image and quite precise way. And can you tell it's been done? You know, I didn't I didn't spend any effort thinking that where these will go the yours. Look out, kind. You did much the same thing. Does it? Does it look natural? Because that's kind of the key thing. Yeah, yeah, yeah. There's some folks online Janica lenses asking. So when you command, click the layer Master, get the selection. How did you get the new layer when you inverse the selection. So people ask me, How did you get that new mask layer when you creates an adjustment land so you can only do let new adjustment layer on, then whatever. Or you can use the little symbol Don't bottom here, which is just a little bit quicker if I crack curse Alor. What it does is it creates a new layer with this with this empty layer mask. If I have a selection active. So, for instance, I have a square selection on his ear and then I create a new adjustment layer. You see what it does is it creates an adjustment there with that selection. So if you've got no selection active or the entirety of the images selected, you end up with an empty layer mask. If you got a partial selection that uses that selection for generating mask. So for this one, it was it was square. So we end up with a square over here on for the other one sequence of steps on. We're gonna get confused, was here we have the one for his face. So what I did was command click that loads the selection that would generate that mask so I generate another layer with that selection. I got exactly the same mask. I get the top of the image blocked off the top. Right? But I did the step that traction when she was missing, there was I inverted that selection. So, from select menu on selecting inverse now that selects the top of the image when I create a new adjustment land now it's the opposite of the mask. Yeah, that makes sense. Yeah. So have you used layers and must like that for No, no, we're gonna using the total anyway. But I've used them. I just didn't I didn't know how to create the new layers based on a selection that was helpful. Yeah, you don't have to do it. And alternatively on. So we've got to the stage now. It's just leasing these last from it. We're getting We're going to last. So we're at the stage where River Just his face. Alternative. Not gonna just create a new curves left, uh, just his hair and then done exactly the same as I did previously blocking the bits of the image. I don't want to have any effect, so it's sometimes easier if you want to fade one adjustment into another to kind of use the inverse, because the beauty of that is kind of just overlapping mesh without any problems at all. But equally well, I could do much the same. My paints and every one like the same thing is essentially the same thing, right? So it's like when a center yesterday about the guy might toilet's poor traits. So we've got to adjustment layers here for this guy on the portrait he had in 150 upwards, so it kind of zooming in on you'd be picking out either no reflection on the on the edge there. Just start telling a little bit, maybe one for you, one for his beard, another freeze a year. But it's the same principle over over again subtleties in generating the mask so it doesn't look obvious on for large areas in image. What you need if you work in the brush, is you need its hardness turned down because what you get then is a subtle transition between between the between the different areas. So what you end up with is you can't really tell him that images bean entity you can't look at it and go are Yeah, I can see where the masks are because you've used this kind of soft brush. It fades between one another and it was quite subtle. Results kind of makes sense. I ask one question. I've never created selections before with the brush. Can you go over that one more time? Like, say, for instance, you wanted to do a selection around here. I'm used to drying with the lasso tool, doing something with quick. You did it with a brush, right? I wasn't created right? Typically the way I would work if I wanted to do an additional adjustment here. What I would be doing now is I'd make the adjustment. So someone is eerily Brian thinks you're just looking this area. Maybe I'm just looking easier and ignoring the rest. Then I would feel that they mess with black. So old elites or just the bucket tool or whatever on then I would be using on either the razor to raise this layer mask or the brush and switching to white. So we're going to be so that we got and then based on that, that mask. But he's just created as he showed earlier. You can make that master. He just made a selection by rail, broke and essentially created a selection from a mask. Yeah, yeah. Permanent hating. Yeah, No making sense, friend. I have to go over a couple more times. Yeah, it's gonna be Oh, no, that's really hopeful. Yeah, yeah, yeah. It really is an easy technique. It's when it becomes difficult when you need a more precise selection. It's a kind of the picture we looked at yesterday of the kind where I changed the colors and rights and all the rest of it. That is really precise mask that follows the outline of the image. Now we're not We're not going to that level of detail, that kind of thing. You almost have to pixel perfect with the mask and kind of be very, very precise. But generally, for images like this in precision works well because you get that settled fade of the effect to precise with it, you know, there's no line across his head we could draw that says right this. But it's been like that and it's been like that. You need to find effects in torrential. Yeah. Yeah. Do you ever get an image you're adding and adding and adding later you get images with the turn into 10 15 megabytes. Well, actually, this is a very small one of my photos that air starting out of five D mark two or 20 megabytes, 100 megabytes back adjustment legs Don't add a great deal of white kind of their numerical operator. It's when you start duplicating the image of their itself. File size increases just working with Just guys. Don't increase it too much. Okay, right. Okay, So if all that make sense, there's another folder, another fire in there that will come back to a while. But let's go to the second fall. His masks. Andi, let's open up the first image. Alexander just said, Well, goodbye, Dodge and burn tool. Well, the Dajun burn tool is is kind of the same sort of thing. But there's two problems with the Dodge and burn. Tal first is its destructive. I'm so you do pick up any background layer just to preserve it, and then then you work in the doctrine burns all but there's no control. You know, you if you dodge one bit in image and then you burn another bit, You might think well, actually need to dodge that a bit less. No leads have to burn that back down again on it's a kind of, you know, if we go back to go back to my guy for a minute, if I decide after I've adjusted, is his hair on? Did I want his face to be a little bit darker? You know, I could just go back again. Tweet that curve If I want to adjust his hair again, tweet that could. And I'm not doing any damage to the image. Um, the doctor in Bern told Great if you could absolutely nail every single change with certainty, a change in one part, the image invariably means you're gonna want to change something else with using masks and curves. You know there's only two here, but if I I can sit there and I could tweak each one to my heart's content on Ben. Kind of images don't so the dodge and burn till I actually think it's difficult to you. So I never got the hang of the doctor, but it was kind of okay in a dark room. It kind of makes sense, because that's what you're doing. You dodging and burning on. But layers and masks is a lot more powerful. It gives you a lot more control. And it gives you this scope to kind of revisit the changes you made without affecting image. A lot of people speak of the doctrine, burn till as well they get that they just give up is not quite right. But the tinkered about with it for so long, that kind of repeating things. And you're over writing of the changes that you made you started again. This is a much better technique. I would always recommend kinds of masks. Okay, so let's get back to this next one. I'm okay. So what do we need to do in this image? Yeah, I can. Well, you'll know that I've kind of you know what we're gonna do, because I've got these two curtsy and once cursed guy and once cost four grand. The problem with this image is much the same as the problem with the shot. The guy you know, we're gonna increase the overall contrast. Um, we kind of do it, but the foreground ends up looking groups that point the foreground ends up looking a bit too dark. Get sky looking good on. If we got the foreground looking good, the sky ends up just looking a little bit. Washington. Okay, so what we need is to adjustments. So again, if we take a look at this image, I'll leave that curve active, even coming to see. It's kind of that area from the four Grams. Let's come to Trump before grand on bringing upload it said. Now this stage, I'm ignoring the sky. You know this guy's going wrong, but I'm concentrating here. The foreground looks their end over something. Looks like that one good thing to do is, well, he's kind of toggle Lanzone off. You've got this little symbol beside here. Can't quite get what is called a little I shaped symbol. This controls with our Larry That is active. All know. So it's kind of good to turn it well enough to see, see where you've got to. So, yeah, that looks very flat. That looks a whole lot better now with the previous image, we were using the brush tool to create the mask. What I want to look at this time is a great talk if you can't see the great until what you will see instead is the bucket talk. So you got the bucket to elected Select gravy Insult who is used to grow. So what's the graduates Will do, you know give you, like a darker area in one part of the image and fade to lighter at the other end. Only effect here using It's sort of like a mask. Yeah, If we using it to draw on the mask, it does create a mask. I'll show you how it works. So if I click here and then drink to their So what you'll see is that two X is there is a starting point is the endpoint I haven't let go my news here when I do, what it will do is it will draw from the foreground color, which in this case is black to the background color, which is white. So this what will that do? What will the mask a look like when I let go? Where's the black gonna be in the sky? Yeah, Top left, right? Yeah. OK, So that means if we look at the landless new so all to clicked again Option clicks. What we did was we dragged from this point to this point. The transition is the length of the distance we drank. If I drag right across the image and then let go, what you'll see is you get a much smoother transition between two areas. Yeah, or if I drag over a very, very short distances over here, you get quite harsh transition. So you can kind of really see you really see the engine. Yeah. Okay, so what I'm gonna do is let's just delete that what once is due here is just the four grand, but not the skies we're gonna do is I'm gonna place on the start dragging from roughly around the rise and dance about there. Now, one thing is used to tell you about this days. If you're trying to adjust landscapes with this tool, it's difficult to kind of get it straight. If you hold down the shift key while dragging, you'll see it just only slightly different. It constrains the angle to 45 degrees. So if a Seascapes on landscapes where you want a very straight line, if you hold down shift, you can only drive in 45 degree angles. Yeah, I think since if I let go there now, what you see now is I didn't drag. It strikes on again. If we turn this adjustment layer off new, you can see what we've done is we've adjusted the four grand. But can you see the joint? Is there a noticeable edge to this mask that you could identify by looking at this image? No, I don't know. It's kind of faded again. And it was quite it was quite a short transition. If you look at it, it's a Sony five attempts at image, but you can't see because it fades it again with this mask to kind of what you're gonna do is tournament seamless adjustment to the image. So again, what we could do now is we could use the inverse of that one. Or we could crack Nucor's adjustment land if I wanted to switch them over our command. Click this one on this lives the bottom select inverse. And I kind of got the sky. What I do now is add another curve on when we're just the sky, so something like last. So what you'll notice is these cars are quite similar. The both s curves that both had, in contrast, but the one for the sky is in a slightly different position on the ground. So the one for the gram is further over towards the left. So it's gonna brightening up, um, kind of midtown values here. The one for sky. Is the midterm values getting slightly darker? Okay, making sense. You know, I'm confused. I understand what you did. I couldn't keep up, right. So I missed the train making the second master. It was the same process again on We've got this adjustment for the foreground, right? Turnout on often. See how that works. I take a look at the mask when you see it kind of finds from the horizon. What is your shortcut? That I'm just doing old old click. The layman's some now, and that's bringing up the mask Normal. You don't need to look at a mask, but I'm just doing it. Killing of the strikes. The effect is having on the image cannot. I was just going to say, uh, Dempsey said she's a little confused. The Grady and tools used to create the mask on, then a little Bruno 26 is Is he only used ingredient because it's a horizon. What you've got with the lamb asking if I don't click it again Effectively, What we've got is something you can draw. I can alter this masked by using a variety of tools to draw it so I can raise bits. You can use the razor. I switched the brush to Why, so I can paint on it. And what I'm doing is generating the mask that our lands the effect to show through or not show through. So, yes, in this instance, I'm using the Grady in because it adds a nice straight edge. I didn't need to if I get rid of the adjustment made. So I blocked it off on, I could have used on search the calls room again. I could use the razor, just rub and spotting Here. There we go, kind of saying the same effects. I'm no affecting just about a part of the image. Um, Mr Bittner just getting those bits. It's kind of, you know, it's not a strike willing and able It kind of doesn't matter. Yes, I was using a gradient tool because it gives you this very gentle transition follows the horizon, but you don't have to. What you're thinking about is generating a mask that works with the image. There's kind of no hard and fast rules about how you do this. What you're doing is just kind of ensuring that one area is affected in a way that you want without affecting the area that you don't want to effect. Don't make sense. Does that worry for things to you as well? It was a different question. No. Yeah, I understand that. Yeah, they can easily get to that stage with this image with you. I'm a little sketchy on making the next selection to do this guy right. There's two ways of doing it. You can only the reuse, the selection dese like that one. So if I want to use the opposite of one of these for the grand, all I need to do is commend. Click that lay my stomach. If I create the land, the new at this stage, it has exactly the same masks, curves, one yet which I don't want. I want the exact opposite. So I'm going to select menu and inverse okay. And then that switches the selection to the sky. Have a crack and you learn new Got right with that selection. Yeah. Yes, with you and again. You don't have to do that. You could crack new adjustment layer and then block off the bottom. So you just effect in the sky. It's just kind of an easy way if you've got two broad areas in an image, even kind of switch between one another. Yeah, I got it. Okay, thanks a lot. So let's look at me too. What we have here is kind of got two versions of the same image kind of balance in the tonal range before we start. Have used again. I've used a Max to do that. So if I disable the mask, this is one thing we have talked about you. If you want to disable the mask, you can shift click. And that will put a big red X through the mask to Damascus. Kind of there. But you've disabled it. So if we look at this now, there's one exposure. There's another exposure. Yeah, What I've done is I've used a mass to blend the two together. So on this occasion, on what you need to do is add the land mask. So, for instance, if I duplicate the background lead, you see what happens is it appears. But there's no there's no lame ass this time. Adjustment layers automatically have one, but image last done. So you want to add a llamas to a image where you can go layer new adjustment? No, no, no. What you talking about on your mask? Yeah, where is it? Down below line? There is, and you can either have reveal all which will create alone License White or Heidel, which will create landmass that's black so I can handle a must win the mutual. So that's what I did here on our brought into exposures. And then I used to blame us to blend the two together. Does that make sense? It's again kind of using. Ingredients on guns draw over the top of this one on kind of fade it slightly differently there. So what you get then is to exposures blended together. My sense that kind of another useful way of using masks blamed multiple exposures together. But the only thing you need to remember is you need to add this lamest thumb now because It's not by default. Kind of the other way. Doing this would be your load in both images that you to raise the bits you didn't want. Yeah, so in this case, I'd be arranging the sky. Just disable that again so I could I could load in the second image in that it raised this guy. Now, what's the problem with that? Why is that No good thing to be doing, because then you're actually changing the image file instead of using an adjustment layer. Kind of if you get it wrong or you know your race too much. You don't notice when you come back later than that date has gone with a mask, you can amend it again. You're not changing the image data. Yeah. Okay. Right. So open this one up on. Think about how you might adjust it. What? We're gonna just what we're gonna add. And again, you can see it's cursed for Grand Coast sky. But what do you think? What needs to be done? We're gonna probably bring out some detail in the sky. Seemed with the water going across the sand. Yeah, yeah. Have a go. You'll notice we look at these Lamb asks that before we activate, this one's quite a soft transition. Dance was the bottom in the image. This one's a much harder transition. So let's look at the ones that I did. There's there's the one for the foreground. Can you see? And again, does it look natural? It's not gonna turn it on if we look at the transition there kind of got a nice soft transition from near the horizon, fading it was the bombing, the image. So again, it's kind of quite subtle effects. I mean, you can't see the joint if you could never see the edge of a landless. The chances are it's wrong if you look at the immediate and this kind of a bright bit, where they shouldn't be our dark. Whether shouldn't be. It probably means you generates the masculine. Yeah, on the sky, kind of. That's what we did with this guy. So we look at those curves. You know this one? It's a quite strongest curve. It's making the shadow detail darker. It is making a midterm values lighter if the sky is quite sooner and a lot of ways. But it removed the white point you know, if we turn it off, you'll see, You know, they're white clouds. But if we look at them with the eye dropper value 138 almost amid great they want to write has been dry. What I've done is I've moved the white point on Brighton, the highlights and again, dark shadows. So I'm kind of going through that quickly. But it's exactly the same procedures we talked about this morning. You're evaluating the imagery, working out what changes to make. And you're using masks in this case to bring the two together. That kind of making sense. Yeah. Yes. People doing online following a look. Yeah, they're doing great. And definitely a lot of questions a lank has a question about. Could you talk about luminosity masks? Is that relevant? Um, it depends Russian means by luminosity masks. Issue means ones that are generated on the basis off the brightness and different bits of an image. It's going to slightly complicate things. One thing I will talk about is a blend. Modes will introduce blend modes just before the break. I mean, that might ponds. Her question kind of a question from Cantor was, Why does the hissed a gram change on the curve Toolbox on consecutive curve levels like the sky curve hissed. A gram is different than the sand hissed a gram. Um, because that is a good question, and it's one that I have not noticed. So yeah, interesting. I don't know. I will think about that. It could be because this changes underneath it, but it's changing, irrespective of whether the legs erected, isn't it? That's destabilize. Laying my season less difference, you know, I really have no idea about. It's a good question. I've never looked into it because I don't tend to use this hissed a gram because I find this very sort pale grey thing lurking behind the curve. Not not especially useful. What? I'm tending to use instagram over here because this gives you the overview of the images. A whole what? Providing you got it set up. Like what? I will look into that because of no treated by white changes. If anybody knows online last night, right? One less thing to show you what happened, Actually, Well, didn't do it this way when I had this curve here s actually sets it right. Okay. We'll do it with this image. I've changed the blend mode with this curved luminosity. If I switch it back to normal, what happens to this guy? Oh dear, you're getting that darker sky by having as a women. I'll see you later, right? There's luminosity by great sky. Well, God, don't explain. Blend most in second and there's normal blend mode. No, when you're working with an RGB image, if you increase the contrast, you also increase the saturation. Yes, I should let me open the other image because it's gonna be It's gonna be a little bit clearer that if you go back to the curse folder and you open image three blend lives. You see a guy on our session using picture people buried him. We don't have permissions sharing. We'll go. We'll go back. Still. Sorry about that. Discovered him. When you increase the contrast, you also increase the saturation. Now a lot of the time that works to advantage because in bringing up contrast, you also want to bring up the saturation. The blend mode is a way off blending aware with another lead. Now, we haven't really talked about the last stack kind of you build things up. So on the bottom of this last night is the background. Then we have the second exposure, which will kind of turn on enough. Then we have this curve that then we have this leg. Now for all of those, we kind of got the blend mode set to normal, which means it just hasn't kind of normal effect. One useful blend mode for Kirsten is luminosity. If I switch it to luminosity, what's happening when I turn the lever on enough name? What's changing is the contrast changing. Is the saturation changing? No, it's a kind of if you switch a curve to luminosity blend mode, you're just changing the luminosity of that layer, not color. So if I switched it to saturation, what you'll see if I turn it on and off is all the effects. Is the sexual relation Yeah, that's not normally something I do with the curve on this occasion. I kind of wanted the muted look of the sky. Um no, the bright blue sky. So we'll look at some blend mode as we go through. There's lots here on most of them are especially useful. But when you're working with the Kurds, if you don't want to really kind of pop the saturation on switching to luminosity blend mode kind of just tones it down. It affects the contrast, but it doesn't use the saturation on. So by the same token, if I switch this one back to know they're both luminosity, yes, he wants the same. You know, I've got a big increase in contrast and kind of the image now looks on balance. I don't want this very rich red tones, but I do want an increase in contrast, So I switched to luminosity, maintaining the level of saturation around increasing the contrast. It kind of makes sense right now. I think we're just about heading up to the brake. So were there any less questions before we go from people online? I've gone through that quite quickly on because I really want to get to work in your images. Lighter on. I'm going through these techniques on as quick as I think I could get away with doing it just to make sure we've covered him. I'm gonna People don't question shame every night can at the moment. Yeah. How about you guys? Was there anything that you didn't Quite fully. Yeah, I think I think when you went through, especially when you talked about luminosity versus that, that was really kind of big. Offer me regarding how you work with the change in the layers. So that was a big piece for me right there. Yeah. And it goes back to what we're saying yesterday. If we go back to my favorite bit of shop There we go. Yeah, we got a pixel on what we do to it. Weaken. Change the brightness and changing color. We haven't really done anything a color yet. Other than talk about luminosity blend mode, we've been talking about changing the brightness. But all these changes you don't do for technical reasons, do them for creative and aesthetic reasons. So when we're looking at the picture off this one here, we'll bring you. Now we're beginning to contrast this guy being a contrast in the foreground. This guy, it's an easy Mr Value, right? If we want more contrast in his face, his hair is gonna go too bright, so well of justice here independently. This fax, you can kind of see that. And you think you can know what's wrong with it on. It's not difficult to do, you know, even if you've never used mess before providing, you've got a nice soft brush and you kind of feathering between the two in their ears. It's very easy to adjust specific bits. So you know, if I want to bring in a bit more detail on his cheeks there, I can handle the curve and maybe he's kind of Brighton off. Andi, fill the Lima's were black on this kind of punch. A hole through it on in 10 seconds about another adjustment doesn't quite work, but you kind of say it's just effective that one area I can then go back and treat that curve. I'd like very specific, precise adjustments with North at all. Then, if I don't like it, you got. Now months get about turning off. Let's go just really, really easy we're working on. If using a doctrine burn till you're gonna make mistakes, you dodge a bit and you think, Well, maybe I shouldn't have bothered on camera. It's like it's like painting doctor mental. You know the paint is there on canvas when you can't after a really awful paint over the top with this is you just building up gradually, it doesn't work. Tony Office Not again, you know, actually, physically changing file. So amending an images is something just work towards If you're not used to use and Kirsten, you're not used to using masks. It takes a while, so there's kind of try and everything. Bottom, um, but it is. It is a skill that's quite easy to acquire. You just look at the image only circuit. What? What does this image name? So that's what really with your images, so kind of your shot of the David off the ball, you know, adding contrast to the ball added in my stressed the image. You kind of don't dependence and precise. We want to be around, for instance, the edges of the hands, but even adding kind of a soft like to the middle, you'll see it. It's really straightforward