Compositing: Creating a Layer Mask
So now I want to fix this blowing stuff here this curvature so I'm going to create a layer mask which is right down here bottom corner so no new notifications thank you with, uh can you click this little square with a circle on the limit it's gonna create this white mask? This is another thing that I do a lot to do tons and tons and tons of their masking. So what this means is that I can see what's going on on this layer if I want to hide what's going on up there use the color black masking works on a great scale black grey and white so if I use black at one hundred percent one hundred percent I'm going teo in theory see what's underneath so before we did all that liquefying work so what I want to do is I want to zoom in here I'm gonna increase my hardest of my brush which you khun dio right here hardness and size do with keyboard though I'm just gonna zoom in nice and close increase that hardness a little bit more because it wasn't quite enough I will increase the hardness of the brus...
h looking at the fabric and the things that it's around so if this was a super, super super soft fuzzy thing and it's really out of focus, then I would use a soft edge brush but her dress actually has some focus in it because I shot her and focus and just going zoom in here, cut all that back todo that lex grass doesn't do that, only that bending there is. Okay, so with this part here have this kind of harsh, shadowy thing going on, some looking at that and warning all not great, so normally there would be some grass coming up over the edge of this, so I'm going to use that textured brush again. I'm going to see if I can make that look a little bit more believable, making it big, and we are slowly selling that fake now her dress is back in the grass, so if we had more time, I would probably spend a lot more time zooming in and getting that a little bit more into telling a little bit more exact, but I think that looks good right now. I also remember that liquefied around her head so let's, go back to my brush on let's tuck that in, so we're looking good right about there already, so liquefying stamping starting to look better, I can compare this before and after before after, so this is our first see future chisel marks into the piece of rock we're going ok, we're getting closer to what we want all right, so next thing I want to do is I'm gonna do a color adjustment on her hair right away because I wanted her hair to look a little bit more red right? I could've ordered red wig but I can also find a shop so which is faster? This is a great question to ask yourself whenever you're about to do something but your chute electrical lighting yeah, well before that though, when you're when you're going to do anything in your image decide which is gonna be faster and I learned this from a photographer his name is dave monty's lambert he's a lighting guru he said, which is faster lighting your photo shop so I decided to do this on monday we shot it on tuesday I can't order a wig in that time so I can photoshopped the color right and that's gonna be quick and so you have to do that I'm going to use selective color print minnows already so I go down here to the little half circle thing and I'm going to select selective color I'm going to go to my yellow tones because their hair's got yellow in it and I'm going to start pulling around colors just to see what looks good so don't think beautiful stuff to the grass that's a really pretty I like it I love all colors I'm gonna add some magenta maybe increase decrease the yellow increase it good and I don't care about what's going on around the image doesn't matter because I'm just gonna put this in the hair so I'm just gonna make me pull this up a little bit more a bit more here let's try red because it's probably a little bit of red in her hair and that spectrum and looks like they're going to see look at that melon said that magenta so this is looking good for the hair color for me this is my baseline, right? So in order to hide everything we're working with the mask if white shows everything and black concealed at all I'm just gonna want to hit control I command I on my keyboard it's gonna invert my mask something's out my little mask here is black so I can go in here and color this when he's a white brush I'm going to use a softer edge on the lower flow. So once again, if this was an image that I was working on on my own, I'll probably spend a lot more time on this but this is going to get us pretty close blast me a lot how I do my hair masking and the answer is very tediously and at four hundred percent so it's gonna clean up these edges so how tracking around here is when I hold up yonder brush, you hold your key words. Uh, space bar, this little hand comes up. You can just move things around here, like so. So we could just clean this up, because, of course, our trees would not be that color and it's something that if somebody looked at this image of four hundred percent, and they saw that hey, living in that color, they would know that there was some color tweaking done. The whole point of really great retouching is to have people not know what you did and that's half the fun.
Whether your photography demands that you create a dreamy image of a sleeping infant or multiple characters in an epic battle scene, the magic of compositing can make it happen.
In Essential Compositing Techniques, Renee Robyn will take you through the whole process, from start to finish on how to set up composite poses. Renee will discuss working with layers, brushes, color manipulation, and masking techniques to create a mood or story in your image. You’ll learn about composting outdoor images and Renee will offer tips on things to keep in mind while shooting stock images for your artwork.
Software Used: Adobe Photoshop CC 2015