Lessons

Lesson Info

Lighting and Whitening

So we ended up before break looking at several ways to use levels before correcting color and lighting. Now we're going to use a similar technique toe, lighten teeth. So we've got some teeth here that are a little bit yellow and need a little bit of lightning. So what we're gonna do is use an adjustment layer to get that done. So we'll go down here and click the half black, half white circle, and this time we're gonna choose hue saturation. What we're gonna do to lighten the teeth is grab the lightness slider and drag it to the right. In doing so, it's gonna lighten the whole photo. But that's OK, because what tags along with every adjustment layer a layer mask. So we're gonna use that to hide the lightning from just the teeth part. So since it's a little bit hard toe, focus on the teeth. When we're seeing the lightning across the whole image, let's go ahead and hide the effects of this whole layer by filling this layer mask with black K black conceals white reveals an easy way to do t...

hat is to click to activate the mask and simply inverted so Press Command I or control I on a PC and that flip flops the mask from being quite where the content is being revealed to being filled with black, where the content is being concealed. Now let's come in with a regular paintbrush set to paint with white, and we can reveal the lightning on Lee on the teeth. Now this technique is great for selective lightning. Anything does it have to be? Teeth doesn't have to be ISAT. This works really well on those two things. So now let's go grab the regular brush tool was pop up to the options, bar the brush preset picker and make sure that we've got one of these. Soft edged brush is active now, since we want to reveal if black conceals and white reveals, let's make our foreground color chip white by pressing X to flip flop them. And if you're color chips or anything other than black and white, press D to set them to the default of black and white and then press X until white is on top. Now we'll come over here to the teeth, will use our bracket keys to go way down and brushed size and we simply paint across the teeth to reveal the lightning, and that's it. Now, if we mess up and paint reveal a little too much, all we do is press X to flip flopper color ships in paint back across the area that we did not mean to reveal the lightning on in first place. Now these teeth have a little bit of yellowing in them, so we've used the light in the slider here to lighten the teeth. You don't want to go too far, you know. Want alien teeth, right? That's bad. So now how do we affect just the yellows in the image? Well at the top toward the top of this hue saturation panel that opens automatically. When you create the adjustment layer, there's unnamed Poppet menu set to master. If you give it a click, you see all this color information revealed. Let's trot down here and choose yellows, and then we're going to grab the saturation slider and drag it slightly lift so we're de saturating, which means draining the color from Onley the yellows. So Al zem out a little bit so you can see. And now here's our before, and here's our after using back in this tear said Before after, If I taste it back from the image and I think we need to do a little bit more lightning simply double click the layer thumbnail of that adjustment layer in the Properties panel pops right back open, and then we can lighten those teeth a little bit more if we want. Pretty simple, huh? So many techniques involve you painstakingly creating a selection of the teeth and then feathering that selection and then doing all manner of other things. Teeth are really hard to select, cause they're little most of the time. So I find doing it this way to slide in the whole dadgum photo, hiding all the lightning and then only letting it show through in the area. The teeth to me is much faster. Not that those techniques were wrong. I just think they're harder, especially for beginners. So let's take a look at that again on a different image. But used on eyes. Here's our before there's our after pretty things difference, right this time we're going to use a slightly different kind of adjustment layer. We're gonna use what I like to call an empty adjustment layer. So let's talk down to the half black, half white circles, bottom of our layers panel, and we're going to choose the first adjustment layer in the list. That's not going to make a change automatically to our image. And that just happens to be brightness and contrast. It could just as easily be levels or curves. So we're gonna click brightness and contrast. And immediately we're just gonna close that panel by clicking the little triangles to the top, right, because we're not actually gonna make a brightness and contrast change. But what we are going to do has changed the mode of this adjustment layer to something that's gonna lighten the overall image, and we're not going to get into blend modes in today's course. By do you have a deep dive on blend modes available that is very helpful, so we spend a full day on these blend modes. Blend modes are accessible in many places in photo shop, but one of the key places that you'll spot them is in this pop up menu at the top of your layers panel blend modes simply control how color on Lhuillier blends with or cancels out color on layers underneath it. That's it. Just changing the way the colors interact where they overlap if we want to lighten eyes, and this method would also work on teeth or anything that you wanted to lighten. If you want to lighten anything, go down to where the mode says, lighten and shoes the next one down screen gift memories that part. But just look for lighten and go one down. All the moods in this category create a lighter image than you started out with. All the modes in the dark and category create a darker image that you started out with. So look for lighten and then to screen. Now the whole image gets really, really like layer. Mask is active automatically that tagged along with the adjustment layer. Let's flip flop it or inverse it by pressing commander control eyes. So now it's just like we didn't do anything. Now grab the regular brush tool set to a soft edged brush, and if black conceals and white reveals, we need our foreground color chip to be white. So let's press X to flip flop it. Now we're going to come up to the irises of this lady's eyes, and this technique is done in every single photo of every single entertainment weekly magazine that you've ever seen. So what I'm doing here is I've got one hand on my left and right bracket keys, and I am revealing the lightning on Lee on the iris, not the rim of the Irish, because that would look freaky Onley on the colored part of the iris in between the room and the people. Now, if the whites of the eyes need a little lightning, you could do that as well. I might be tempted to do that on a different adjustment layer. So how would you do that? Duplicate this one and then just change the mask so that your only revealing on the whites of the eyes or the teeth? Okay, so let's go ahead and scoot over into the other Irish. This was a little bit harder, see, cause she's in shadow, but it really brings out the eyes and makes them literally pop off the screen. Not in a freaky way. That's bad, but in a good way. Let's get over a little bit. There's the before there's the after a little bit overdone a little too strong. So let's drop the opacity somewhere where it looks natural. And now here's a before and then after a huge difference, in my opinion. So let's do the same thing on teeth. Okay, so we could again either duplicate this layer, but let's go through it one more time. Click the half black, half white circle at the bottom of the layers panel. Choose the first adjustment layer in this list. That's not going to make a change automatically to the image that happens to be brightness and contrast. Close up the properties panel when it opens, or just ignore it. Now change that blend mode menu. Go down the lighten because you want to lighten and drop down. One more mode. The layer masses already active. Flip flop it or inverse it by President Commander Control. I now activate the regular brush tool set your foreground color chips are white. Make sure you have a soft edged brush picked from the brush preset picker and mouse over to the other thing that you want to lighten teeth. Quite. Devise shadow area from a double tin, a little wrinkle area because all those things are shadows So now we could come in here and we could lighten the whites of her eyes a little bit. And you can see Lisa Studio audience can see how quick quickly I can do this because I've got those keyboard shortcuts in play for changing brush size. And I always keep the opacity of the layer that I'm using to lighten at 100%. And time finished painting because it just makes it easier to see where my brush strokes were going. Because if you drop the opacity first, then the effect will be so subtle. It's kind of hard to see and again if you mess up in pain across. Nearly didn't mean to press X to flip flop your color chips and the paint back across the area that you didn't mean to paint across in the first place. So we'll call that done. And now that is seriously freakishly white eyes. So we don't want that. So let's trophy capacity way down to maybe something in the 15 or 20% range. So now here's the before and after of just the I lightning. That particular technique is helpful on Portrait's of seniors because, as we age, the whites of our eyes dark and ever so slightly so that could be helpful for them as well. You could also use the same technique toe, lighten up some of this shadow area to. So if I zoom out and I make my brush larger still set to paint with white, I can come over here in lighten up a little bit of those shadows if I wanted. I'm not saying that this photo needs that, but I'm just showing you the flexibility of the technique. That's fine in the shadows up. So here's the before there's the after super easy. Great tightening to have in your back pocket. All right, let's see what else we have for you. Now we're gonna shift gears, and we're gonna go back into our list of folders, and we're gonna go into folder number eight four selections. What we're gonna do is create another collage. And again, I have included more tightenings than we'll ever get to you. But this is what we're gonna create. Okay? We're going to a nice soft oval vignette collage. We're gonna combine these two images to make this So let's go ahead and open up all three. Take a look in our layers panel here. What do we have going on? Well, we've got a layer on top. The happy couple. We've got a layer mask with an oval in it. Okay, So that means that the outer edges of this image of being hidden and then we've got the beach scene underneath. So our first step, I go ahead and start from this image is to combine both photos into the same document. Right? So let's trot on over to the young happy couple too. Quick, select. All copy it are clipboard control V on the PC. Come back to our collage image, Commander Control V to paste. Now all we have to do is drawn oval, add a layer mask and then soften the edges of the oval. And that's it. Easiest way to get that done is to use the elliptical marquee. We use the rectangular Marquis earlier. Let's use the elliptical marquee this time. So go ahead and give it a click. Now you're going to come over to your image. Don't you dare touch this feather slider. Those of you who have been using the program longer then the beginners we have here. Don't you dare touch that slider. Don't skip ahead. There's a new, better way to do the feathery now. So first, we're going to click and drag to draw our oval on the screen. So we're gonna click and drag diagonally downward. And here again, if you don't get that oval selection place in exactly the right spot while you have the mouse button depressed, she can press and hold the shift for the space bar just near the shift key, the space bar. And you can move the oval around or the selection around on your screen while you're still in the act of drawing it. If you wanted to draw a perfect circle, you could present hold the shift key. Same thing with the rectangular Marquis. If you wanna draw perfect square, hold shifty. Here we go. Let's say this is good. Call it done a little bit wider, so we catch some of her veil in there, then you release all the modifier keys, and now we're gonna add a layer mask, just like we did earlier by clicking the circle within a square icon, a very bottom of the layers panel. Soon as we do. Photoshopped hides everything that was outside the selection with the mask. No, that's happening because you comptel from where the black is in the some new. Now let's double click the mask itself. And inside the resulting properties panel that opens is a feather slider. This is nondestructive feathering on the fly. And this came along, I think, in CS five. So that's why I was barking to everybody on the Internet, not to use this feather slider, because that used to be the way that you had to do it. But it was a trial and error experimentation. You couldn't see how much feather you needed to get the softness that you wanted. So by double clicking the mask itself in opening the properties panel, grab the feather slider and drag it to the right and that gives you nice, visually pleasing feathering that you can see now what if you give this file to the client and they say, Oh, could you make the edges a little bit softer? You say Absolutely. That will be another $150 I'll have it back to you next week. Then you pop open this file. You double click mask and you simply drag the feather slider more to the right. Work smarter, not harder. So that's all there is to a beautiful oval vignette, soft oval vignette, collage. And I fully believe that you photographers out there can sell this as another product in your businesses. People will pay for this stuff. Absolutely. This is another great opportunity to use stock imagery in conjunction with your own, because you might have this shot. But maybe you want to put a bed of roses back here, will. You might not have the bed of roses shot. So go by. Go spend 10 bucks on that image. Sell the whole collage for 500 or what have you. So let's see if we have another example of that I do. So here's another exact same technique with open up all three images. So here's what we're gonna create. So here we got a concert going on and a guitarist this will go ahead, delete that layer so we kind of start from scratch. Let's go grab our right. And that worked out well, I deleted the mask, So Okay, so here we've already got the two images in the same document, each on separate layers. Now we're gonna go grab the elliptical marquee tool. We're gonna click and drag diagonally downward to draw oval. While we're holding the mouse button down, they compress the space part and move the oval around on our screen to reposition it however we like. And let's say this is about what we want right here. Now we're going to click the circle within the square icon at the bottom of the layers panel. Then we're gonna double click the mask icon itself toe automatically open the properties panel and click and drag the feather slider to the right. And that's absolutely it really handy technique toe have in your bag of tricks. As it were, it's closed some of those documents that there we go now. The next thing that I want Teoh share with you is how to use the content aware fill option. That'll error message that I'm getting is is regarding the fonts that I've got going on in the document. They're not loaded on the machine or they're not active, so it's trying to look for a fun activation tool, so don't worry about that. So here is our original image. I really want to get rid of that cow over there so left. But if I use the spot healing brush like we did earlier to remember how we remove the power lines and the beach people. Since this cow is so close to this cow, if I were just to have the spot healing brush to try to get rid of that cow, I would repeat a little cow. But that would be really bad, real bad. We don't want to do that. So if the item you want to delete is close to something you want to keep, then there is yet another way to go about zapping it. And this is serious magic voodoo that we got in CS six, I believe, or CS 51 of the two. So what we're gonna do is the first thing is to duplicate the image layer because there's no way to do this non destructively, there's just not you can't do this trick on an empty layer. So our Onley failsafe is to do it on a duplicate layer. So we're gonna go ahead and delete the layer I made. So we're starting at square one So let's duplicated by pressing command or control J. Now we need to create a selection of the thing we want is at photo shop. Has an amazing selection. Tool came along and see us four, I think called a quick selection tool, and it allows you to create selections based on color. It allows you to paint a selection on. It's very, very handy, and it works pretty well if you've got decent contrasts between the item you're trying to select in the background, and in this case, we do, so it zoom in a little bit. Quick selection tool lives over here in your tools panel in the same Tulsa as a magic wander. As some folks like to say, The tragic Juan it creates really refuges. That's why So now we've got a brush with a little plus sign inside of it that lets you know that the brushes in add to selection mood. So if we paint across our cow or even just click, we can keep. And I'm not holding down any mouse buttons here, changing burst size as long as we paint, we're continuing to add to the selection if we accidentally get too much into our selection, then we can either hold on a modifier key, which is option on the Mac er, Altana pc. See how the brush cursor now has a minus sign in it that which near that it's in subtract mode. If you're not a fan of modifier keys, you can do the same thing by clicking the little brush icon at the top left of the options bar that has a minus sign next to it. So now that we're in subtract mode, I can paint across the area that I didn't want to be in the selection the first place. Now that may look like a decent selection of the cow, but if I zoom in, we've got a little cow. Bangs appear that are in our selection just yet, And if we were to use the fill command, as the selection is, we'd end up with a cow. Outline should be, which would be bad so we can help Photoshopped do a better job with this tool by expanding our selection a little bit so that we capture a little bit of the grass in the selection to so easy, Easy, easy Out of all the menu items up here. Which one do you think we should use to alter our selection? Select the select menu. Okay. All of the goodies that are gonna allow you to find too in your selections are in this menu. So just think about the thing that you're doing. Can you want to change it? What is it I have here? I have a selection. Oh, select menu. That might be good. So let's come up here and slide down to the modify section and then choose expand Motor stops going to say, Hey, I hear you want to expand that selection. By how much? How many pixels would you like to expand it? This is a guessing game. I'm gonna try a press return to accept it and see how it popped out by eight pixels. That's good. Now all of the cow parts are in the selection, and we've got grass all the way around. Now let's try it to the edit menu. Choose Phil and from the use menu. She's content aware. Click. OK, no more cow. Get rid of your selection by pressing command E. That's crazy, innit? It's a bit freakish. Like what did that really? And this is also fun just to sit there and toggled a visibility often? Not really. Yes, we have a question. Can you move it to one side? Yes, you can. With the new tool and say it. Six call content were moved so you would create a selection. And instead of using the edit field command like I did, you would go down to the healing brush tool set and choose the continent removed tool, which should arguably be named, content aware. Scoot, because that's all you can do with it. You cannot move something from the right side of the photo to the left side of the photo. There's no way it's gonna look real. But you can scoot islands if you have, you know, a decent amount of background around them. It works pretty well. Yeah, beyond what? We're gonna go over today. But that's basically how you do it. Rumor has it that content aware deep dive is on the books for October. So team back in for that. So now that we've removed that cow, we've got all kinds of room for copy. Pork is good pork. It's fine. Eat more pork. All the time cows for change dot com. I made that up. Okay, so let's have another look at that one more time. Let's go ahead and delete the extra layer. What do we do first? Duplicate the layer because there's no way to do this on an empty layer. So Commander Control J. Then you want to select the object that you want to delete. Easiest way to do that if you've got decent contrast, is to use the quick selection tools is great for selecting a anything that has a nice contrast. Come over to the image, the larger your brush cursor, the larger the swath of pixels. Photo shop is in and grab. So when we come down here to the skinny little legs, we need to get away, down and brush size to select the skinny little legs. Then, once you get a decent selection, you need to expand it. So choose the Selectmen. You modify, expand, estimate. How many pixels you need to expand. If it's not enough, undo. Do it again. Now come into the edit menu. Choose Phil from the use pop up menu. Choose content aware and click OK, and that's it. Get rid of your selection by pressing commander Control. D pretty amazing stuff. So selecting my color is is very handy. A couple other techniques I want to share with you using the quick selection tool. Let's say I wanted to change the background of this cowboy had. Indeed, this cowboy green is very boring. I want him to be on top of Bluebonnets, right, cause all cowboys are we'll be happier on a blue bonnet background on a green background. So first we need to create a selection. So this would be a great opportunity for quick selection tool because we've got a contrast between the item we want to get rid of and what we want to keep. You could go about it two different ways. You could try to select the hat, or you could select the green and then flip flop your your selection. So let's have a go. The quick selection tool. Let's go ahead and try to select the green. So remember, the size of the area Photoshopped grabs is in direct proportion to the size of the brush cursor. So I'm gonna go up inverse size, and I can either just single quick with the tool or click and drag so very quickly I get a decent what looks like a decent selection of that green. So now I can come in here and add a layer mask, and it did the opposite of what I want, which always happens to me So doesn't double click the layer mask and then click the invert button in the resulting properties panel. The only problem is that while it looks like a decent selection, I've got this green halo thing going on. So those air leftover pixels that are loitering around in my selection this is a really great trick to tighten your selections or tighten your masks Rather So with the mask active, trot up to the filter menu, go down to the other category. This is fun, cause all you are out. Where is she going with this? So filter other minimum. The resulting dialog box opens with a minimum setting of one. We tryto show you what we're seeing here. So here's the preview area and we're previewing the mask. Okay. Black and white were on the mass. That's what we're seeing in here. Minimum shrinks your mask tightens it right up by, However, many pixels you enter in here. The default setting makes it perfect. Look, I've got no green halo anymore as a great trick to tighten up layer Mass. So after you create a selection and you've added on my asking, my dad gum it, there's little fringing. There's a bunch of ways to fix fringing, but for a beginner's class, this is hands down the easiest method. So cheese filter other minimum and adjust the radius until the halo goes away. See what happens when I keep pumping this up. He becomes an elf. Seeing it tightens, tightens, tightens until he's gone, but a setting of one. I'll turn the preview off and on. Maybe I consume a little bit and you can still see it. So there's preview off, See the green halo and then turn. The preview on this filter completely fixes it Now. If your mask was not big enough, what would you do? Filter Other maximum. It's a minimum. Cinches it in maximum. Let's it out a little bit in Si si. That's gonna be weird. Toe. Get in the habit of saying in Photoshopped created Cloud these two filters both except decimal points, which is gonna allow you to use them even more precisely for adjusting masks. So that's going to be a nice thing when we get to that. Okay. So again, all we did I'm gonna go ahead. Delete this layer mask is we use the quick selection tool, which is based on color, to create a selection. We could either select the cowboy or we could select the green, you know, six and one hand, half dozen in another groups. Come over here. Get the rest of that. Now we're gonna add a layer mask by clicking the half black, half white circle, bottom of the layers panel. We've got some edge fringe, hanging arounds and leftover pixels. So with the mask active, choose filter other minimum. And sometimes the default setting one pixel will do the trick. Click OK, And you're done. Now, The next technique that I want to share with you is how to use the background eraser. So this one is slightly more advanced, but not as advances. Using the refined edge dialogue box. Okay, which has so many options, it's it can be overwhelming. But let me show you the original background of this image. That's our original background, and I thought it was incredibly boring, so I replaced it with a new sky. This image has so much hair in, it's hard to erase around all that. Okay, this technique is destructive for the background eraser, which has been in the program for bazillions of years. My buddy Jack Davis reminded me of it recently when we were here teaching for Photoshopped Week. So this is a technique that it's been in my book for years, but I'd kind of forgotten about it. So thanks to Jack. Thank you, Jack. We're gonna show it right now. Unfortunately, using a layer mask with it doesn't make it work so well. So this is going to be little pain staking, meaning you can charge a whole lot for it. And it's a great thing to know how to do in your photography business. But if you were going to do a lot of background swapping, you would shoot on a green screen, which would make it a lot easier. So shoot on a solid color if you can. If you know you're gonna swap a background, makes it way easier to select. And by all means, don't use a wind machine and have the hair blowing. That makes a lot more complicated. So to use the background eraser, we're gonna go ahead and activate it. So it lives in the tool set of your eraser. So it's finally erased your kind of midway down in a single column tools panel. Go ahead and give the eraser tool, set a click and choose background eraser, so it's got a little pair of scissors about it. So what this does is it lets you erase based on color. So any colored pixel that the cross hair inside the brush touches is gonna be erased. So it's an erase by color tool where we were selecting by color moment ago, we're now erasing by color. First thing you want to do for this technique is duplicate the image layer that is only going to help you get back to the original. In case it all goes to heck in a handbasket, least you're not gonna have to close the file and reopen it. Okay, so just duplicated, turn off the visibility I. Next thing you want to do is change pretty much every setting in the options market. This tools has because the default settings are absolute crap. They just didn't really work well on anything. Someone is aiming a little bit more Were to start with this brunettes hair over here. So we've got the background eraser active. We want to come up to the options bar and we want to click this little middle button right here, which basically tells the programme Hey, I want you to sample I want you toe look at the color and pain and cross one time, and I only want you to erase that one color instead of by default, where the program samples continuously as you paying around an object wherever the pixels that your brush cursor is going across photo shop is looking at, I'm looking at, I'm looking at, I'm looking out. I'm looking at him, and it's changing the color that it's erasing as you paint. You know it's trying to be helpful, but if you've got a background that's uniform in color like this one and we do, then changing it toe once will do a much better job. Okay, the next thing we want to do is we want to change the limits from contiguous to discontinuous because continuous is only going to delete pixels of that same color that you're brushing across that touch each other. But when you're dealing with hair, I've got pieces of blue see in the hair. I want to erase those two. So you have to change that menu to just can take us to make that happen. The tolerance level that is gonna be an experimentation thing. The lower that number, the pickier is gonna become. So tolerance is basically the pickiness setting. If you lower that you're saying, seriously, Photoshopped Onley erase the color that I initially click on as I'm painting to erase this guy. Don't you deviate from that color at all. You're gonna need to experiment with this setting for this particular image. I used a tolerant setting of 65. I think it's finally raised a little bit. Let's split the difference and call it 60. So it starts out of 50% have ago with that, if it doesn't do a good job, undo and then change it. The next thing you want to do is turn on the protect foreground color check box because that's gonna let us take a sample point. Remember how we did that with the healing brush and the clone stamp tool. It's gonna let us take a sample point, and it's gonna try to try its level best to not delete that color to protect it. So how do you take a sample point exactly the same way we did with the healing brush by holding their on the option or alter key? Okay, so if I want to start having a go or racing around this area, I'm gonna take a sample of her brunette hair right here. Now, I'm gonna make my brush big because the brush has to be big enough to encompass any of the background that showing through the hair. So in this area, my brush doesn't have to be very big. But as I come down here, it has to get wider and wider. Do you see that? And down here has to get really wide because see, my brush, the roundness of the brush the edge has to encompass all of the background that I want to erase. So want to get down to this area? It's gotta be really big. Come around. It can get smaller in here, and then down here. It's got to be honking big because it's got to get all up in these other areas you don't want to touch. You only want to let the cross here. That's in the center of this brush cursor. Touch the color you want to erase if we touch the brown. If that cross hair touches any of her hair, that part of her hair is gone. So you have to undo. So that's the gist of how this works. Now let's take a look at the actuality of it. So I started out with a smallish brush, taking my sample point by pressing option or Ault and a little bit bigger. Crazy, huh? It doesn't amazing job. I think that in that insane, you do have to be careful in areas like this where we've got some skin. So that's why I'm doing a little bit of the time a little bit at a time. So because if I'd have to undo, I won't watch all of it unravel at the same time. So an amazing tool does take some experimentation. I come down here and make this a little bit bigger down here so you may lose a little bit, but this does a better job than the refined edge dialogue box. And again it's been in the program for years. So it will take some experimentation, but without as many hours. And you can keep redoing the sample points as the color changes as you go around. So, for example, if you come over here to the little boy's hair, he has different colored hair than the mom. So we need to, said another sample point. Telephoto shot. What color you want to protect? We could go right around as his hair tone changes. Change the sample point. I think my sample point was too close to the background color, and I was saying, Well, if you want me to protect that, then good luck. I can't erase anything, So just keep redoing your sample points, adjusting your brush size according to how far into your subject the background color goes that you wanted to leave, and before too long you can get a situation like that. Look at that. So that's where their new background dropped in with exact settings that I showed you. Look at those wisps of hair and then amazing. So that's the background racer something to show you those settings one more time so that you you know what they are. So the first thing is to duplicate the image layer and turn off the visibility of the original. The next thing is to grab the background eraser, trot up to the options bar and changed the sampling method toe once. If the background you're trying to race is pretty uniform and color in ours is change the limits to discontinuous. If you're trying to erase around hair that way, the pixel don't have to touch In order for them to be deleted, adjust the tolerant setting have ago with it. If it's not doing very good, undo and change the tolerance. Setting a lower number makes Photoshopped pickier about what it deletes. A higher number makes it less picky. Turn on the protect foreground color and then set your sample point option or ault the color that you want to protect. Make sure your brush is big enough to encompass wherever the background appears, through the hair or the for, and then just paint around the image. Now it's not deleting anything when I click right here because it's already deleted it. So that's why you gotta be real careful about how big your brushes taking all that look at that. It pixelated it a little bit. But with adjusting the tolerant setting, you could go back and fine tune that. But that's why it's good to do this in little strokes, so that if you have to go back and undo something, you don't undo the whole miss so pretty amazing. But if you were to add a layer mask after this, I mean, look at that. It's really quite perfect. If you were to add a layer mask, those edges would get. Pixellated knew it looked terrible. So it is a painstaking technique, but well worth it, because it's one of the only ways you get that good of a say, a selection deleting a background through hair like that. Okay, so that was the hardest thing that we're gonna learn today. Let's see what else we have, and then maybe we can take like, three or four questions, and then we'll go on to the other Stuff is the other stuff will go pretty quickly. Do we have any questions on the background eraser and the beef in the soft vignette collage that we did. We sure dio. We sure do. Annette de, from Palm Beach once knows when you were working on the eyes, would you reduce the brightness of the catch lights as well? Or would you work on those? That's a great question. So she's talking about the reflections that you see in the eyes. If you change the brightness of the eyes. Do you need to change that? Because I don't because I lower the opacity of the lightning so much. But if you were going to be going for another worldly look, maybe you would then worry about the reflections as well. But I typically don't because I drop the opacity of the lightning so much that it's it's not that dramatic of a change.