Q&A: Selection Tools


Adobe® Photoshop® Intensive


Lesson Info

Q&A: Selection Tools

There's like a trend of photographers showing people their own living rooms with large photos to show them like, if you buy a larger photo, it looks better in your space, and this would be an incredible application for that. Oh, you're right, that's a really good idea, that's a really good idea, so would they take photos of they'll use the photos from the session and then when they do, like in person selling to their client, they'll have, you know they'll just put up photos in the background and a lot of them I've seen, you know, are trying to sell canvas, but you could also putting, you know, they could choose the frames that they you you have available to, and you khun shone the whole application and even take their own living room and, you know, show them exactly what it will look like with the larger photos tonight. Upsell really good idea who? It's a hard time to be a photographer right now, I'll be quite honest with you, you know? So learning techniques like this, you know, scare...

s you more options. Jerry question question. When you were using the magic one tool to select the white, I was not able to make that work for me. I think it was the tolerance but I tried different tolerances and I wasn't ever able to get it to select just the white it kept like pulling highlights off of her face or his face okay, so since it was pulling highlights off of her face that tells me that maybe you weren't on the frame layer when you were using it oh ok, perfect thank you yeah when you start working trying it and hammoud exactly ok yeah so if you get unexpected results or something's not working like that, do you take a peek over in that layers panel and make I'm sure that you're on the layer that you think you're because you know it's so easy when your mouths and around to accidentally click another layer so it's a good idea this to peek over there thank you folks on the internet you know that that happened to a cz well you're not the only one. So lisa a question from the chat room was could you explain what tolerances yes, absolutely let me go back tio let me close this and then we'll open up that frame again because it will be easier to explain and if we have a photo to work with hand so to shop there we go suji who ask the question was also wondering if you could explain the anti alias and contiguous federal options there, okay all right so I have a magic wand activated over my tools panel and you can see the options that we have appear in the options bar include tolerance which comes straight from the factory said at thirty two you can think of this as the magic one's level of pickiness okay because it is working to select by color someone we come over here to our document and we see our magic wand cursor when we click photo shop is saying ok she clicked on a pixel of this color and brightness value I'm going to go grab every other pixel that's close to that the contiguous checkmark which I would advise to leave turned on it's that way from the factory tells foot a shop grab on lee the pixels that are ted that are similar in color that are touching the original pixel ok in other words, if we had a different photo and we had white somewhere else that wasn't physically attached to the original block of white we clicked on if this was turned off it would go grab better their white to nine times out of ten that's not what you want with the magic wand you're trying to grab color in an area like a sky to swap it out or like you know a white background or another color background doesn't have to be white because it works on any color okay, so that's what contiguous is anti alias ing you want to leave that turn nine because that's just smoothing the edges just ever so slightly it's actually doing a little bit of it's not really that it's adding a blur but it is smoothing or edges just a little bit so you want to leave that one turned on so tolerance is our level of pickiness so when I zoom out here let's say that I wasn't able to grab all of this white okay, so I'm gonna go ahead and d select and I'm going to ratchet down my tolerance to show you the difference so I'm gonna take it down to ten ok and let's see what happens when I click around that white background it's still got all of it okay was tried on the gold frame trying to give you a good example of this ok so let's say we wanted to select a part of this frame well if my tolerance is set down the ten and I clique see the size of the selection I got its microscopic the lower the tolerance, the pickier the tool becomes and it will on lee include pixels in the selection that matched identically the first one that you clicked on so let's zoom back out let's de select and let's turn it up tio let's say fifty okay now will be click in that same area see how it went and grabbed a whole bunch of stuff so it's grabbing it's being much less picky so ah, higher number means you're going to get more pixels in this election, the lower number means you're going to get fewer but more accurate to the first one that you picked that you clicked on. Okay, so I'll go ahead d select and I'm gonna take it back to you thirty two and we had a great question yesterday about how do you reset a tool to its default values if you don't remember what they are and that bears repeating? So with that tool activated, you can click the little tool preset picker the top left of the options bar this whole arrow right here and when that panel opens, you want to click the right we're pointing term angle at its top right? And that will bring up another menu. Let me zoom back out so you can see it and one of the options in that manu is reset tool. So if you're not sure what the default settings for that tool r r is, then you can click that and they will go back to the default settings kind of a follow question bruce f had asked, what if there are white highlights on the edge of the frame? Um how do you get them to not be part of this election? Well, we'll just use our frame again so if I click in an area and it didn't grab everything that I wanted you khun just shift, click and keep clicking until you get everything that you want it will keep adding tio so if you get a little a little part that you need to add to this election, then you can shift click the flip side of that is let's say that you select too much and you need to delete that from your selection, which may be what he's talking about. So if you select this area and I'll go ahead and add this area two and let's say that I didn't mean to add that area my selection okay, you can hold down the option key let me zoom in the option key puts the magic wand and subtract mode okay? And these keyboard shortcuts worked with any selection toll in the program. Okay, so your marquee tools your lasso tools you're selected by color tools every one of them have these two modes that you can toggle in and out of k so shift and then clicking will add to the selection option or altana pc will d select or subtract from the selection, so if you get a little too much in the magic one like the white highlights on the frame, then you can hold on the option or all key and click that area and it'll subtract that from your select but with this particular image you really ought to be getting a near perfect selection so if if the white highlights of the frame are being picked up then I would say make sure that the magic wall intolerance is set to thirty two okay question from polished films have you ever boosted the saturation to help separate the colors better I haven't done that but that certainly a way to affect how much is being selected yeah with those select by color tools that's a good idea I have a question from twitter from my three boy berry ins she'd like to know if you prefer the magic wand or the quick selection tool for regular daily use that's a great question boy well, you know in cs four when this tool came out I thought it was very tale tale that adobe put it above the old tool, right? They put it on top so the magic one by default isn't even showing up in your tools panel anymore that kind of tells me that it may not be around forever so the quick selection tool it feels like to me that it's improving version by version that's getting better so they work in the same manner but whereas you would single click to make a selection with the magic one with the quick selection tool it works with a brush cursor so it's a painting metaphor and as you click and drag with that tool than you are creating a selection is still working on color so when I have a really high contrast image that I need to create a selection from such as this picture frame right here then I am more like to use the magic one out of sheer habit okay? Because it's a little bit faster because it's a single click it can be a single click affair if you're dealing with high contrast whereas the quick selection tool we would need to paint to a certain extent all the way around it so if I'm working with really high contrast area to select I will grab the magic wand with most anything else I used the quick selection tool if I'm trying to select a person we're going to do some of that later on when we get into fixing animal why'd I I am more apt to use the quick selection tool but that's kind of a personal thing but the difference the big difference is that the quick selection tool is smarter than the magic wand it will create it's more intelligent it will create a bit of a smoother selection edge than the magic wand but it is a click and drag affair, whereas the magic one is a single click so it really just depends on what kind of image that you're working with either those look at color and texture our color only color only great question have a question from andrew in the chat room when pasting the photo into the area selected within the frame using the paste into command. I'm not getting the handlebars to resize the oversized photo and I believe he's on a pc do you know why I do you know what? Because he hasn't summoned free transform yet so those re sizing handles don't happen automatically you have to summon them using free transform that's command tea on a mac or control team on pc we have another question from twitter from, uh gruber's can you tell me what the choke means on the inner shadow style setting folk in this? That was that was tough to explain and endo these manual, it could not be more cryptic about it. The definition that adobe get gives is that it it adjust the mat of the it adjusts the mat of the blur or the matter of the inner shadow before it becomes blurred that's all I got, it seems toe visually, it seems to affect with but that's not really what it is because there's a size which is affecting with so I'm not really sure exactly what that controls I would advise to play around with it all right question from sam cox rotation always about the center or is rotation always about the center or can the center on the rotation b change yeah absolutely so we can look at that real quick I'll d select to get rid of this no go ahead double click my background layer so that I actually can rotate it and now I'll summon free transform and let's zoom in see that little centerpoint right there that's your center point so you can click and drag it anywhere you want so everything you do in free transform is using that centerpoint but it can be moved you just click and drag it you two would like to know how long does it take for this information to sink in you say I am new to photo shop and most of the info is getting lost it's lost like j peg ah bless your heart repetition makes perfect of the morning did it the more it will sink in and there will come a point where the light bulb comes on and you will scream hallelujah and just hang in there just do it more and more and more and that will help and tune in with us through friday and I bet she'll be feeling different on friday have a question from a tx michelle thinking maybe that's texas lisa can you use the eyedropper to choose another color offer desktop or in another non sort of shop application? Yes but there's a trick tio texas michelle I should kiss you for this one because this is a great thing to bring up okay, so I'm gonna rearrange my desktop space just a little bit so that we can see through to the desktop so I'm gonna I'm working with the application frame turned on so I'm gonna go ahead and click and drag the bottom right corner photo shop because I just want to see the other areas in my desktop where I might have a website open that has a color I want to snatch or maybe you're designing a piece for somebody and you need to make it match the color of the website and they have they haven't emailed you the numeric value of the color this is a great great great trick ok somebody go ahead and create a selection inside this frank says it's going to give us a place toe to put our color they're actually let's make a solid color phil layer now going to like this okay, so we're going to click the foreground colored ship and that's going to summon our color picker okay, so it doesn't matter if he opened the color picture this way or you had it open because you were creating a phil layer it's the same kind of thing okay when we mouse over to our photo shop document we get the eyedropper but when we mouse outside of our photo shop environment we do not get the eyedropper so the trick is to click in the hole down your mouse button while you're in the photo shop environment and then when you mouse away, it stays the eyedropper this is so fantastic, I'm so glad that she asked this so the trick is to clique within the fund shop environment and keep holding down that mouse button and then dragged out to the area that you want to snatch the color. See now, as I mousing around on my max a desktop, I'm picking up all those wonderful shades of blue, so as soon as you release your mouse button, then you see that that's going to be the color that's in the color picker click ok, and now my color chips at the bottom of my tools panel, the foreground color chip reflects that color, so you would need to do a little bit of window set up before you open the color picker and before you do this, okay, so if you were trying to snatch a color from a website, you to make sure that you had those windows where you could see them, okay, so if you're in full screen mode and photo shop, you're not going to be able to do that. You have to be in a situation where you can move it out of the way or at least make the window a little bit smaller, she can see the website window or whatever you have open have a question from oh, question in the audience ahead in your color picker comebacks where you have, um you little words that showing you what color you have, there's, a little bitty square and little backs what is that? Let me see if I can see what you're talking about. It's where you okay see the objective of this guy right here? It's a warning looks like aboard cube to me, the star trek fans out there so basically it's, that box will come on when you're not using a web safe color, I think is what that is not a web safe color. Yeah, so but you don't really have to worry about web safe colors anymore. Yeah, so don't worry about it. Um, I used you would like to know more about selecting hair with the magic wand tool. Do you recommend using that tool, or is there another tool that you would write? Hell? No? Well, if you're charging by the hour, that might be the way tio, but we're going to be doing that later on in the day we're going to be using the using channels for selection, you won't believe how easy it is, we're gonna use channels, and then we're gonna dive into the refined edge dialog box, so we're gonna be doing that a little bit later on we have breaking fifteen minutes do you want to keep going with yes chin I would well actually let's do one more of these let's uh let's experiment with one more these techniques just to make it hit home and we're going to do it a little bit differently this time this is the image we're going to create boy is that a cruise ship photo if you ever saw one they look like they're having so much fun okay, so this time we're gonna have a uh around selection so we're going to start with the oval or elliptical marquis rather ok, so let's go ahead and close this document and open up the two original images that I started out with I'm going to drag them into my photo shop environment I'm gonna go to the couple photo and we're going to select on copy it to the clipboard just like we did a few minutes ago so command a or control an a p c and then comand see on a mac or control c on a pc to copy it now let's come back over here to our overall picture frame and with this one y'all can feel free to experiment with either the magic wand tool the quick selection tool or you can draw with the elliptical marquis tool okay, so any of those three tools will work I'm going to go ahead and use the quick selection tool now with this tool and we're going to be using it more throughout the day the museum in so you can see the cursor we get a brush cursor and it's got a plus sign in and that means the brush is in ad to selection mode so wherever you paint with this brush you will be adding those pixels to your selection. Now we'll tell you that the size of the area that this tool grabs because it is again a selection my color tool is directly dependent on the size of your cursor for example yemenis my bracket keys keyboard shortcut to alter brush size so if I press the left bracket key few times my birth size is getting very, very small with a really small brush if I click and drag, I get a really small area that is grabbed in my selection, but if I use a honking big brush then I can really just click one time okay? So the size of the area that photo shaw automatically selects for you based on color is directly proportionate to the size of that brush cursor I can get away with a really big brush for this image because I've got really high contrast and it's a pretty big chunk of area that I want to select okay, so once you have that selection now we're ready to use our paste into command so we can choose at it paste special paste into now, this is another situation where I would resize the photo and you don't get those re sizing handles automatically you'd have to summon them with free transform so let's, go ahead and press command tea on a mac or control t on a pc here again, I can't see all my corner handles arguably makes it hard to grab him, so we need to use that fit to screen keyboard shortcut to make photo shop, resize our environment so we can see them all that lives under the view menu fit on screen or you can simply press command zero or control zero now I'm gonna hold on my shift key as I grab a corner handle and drag diagonally inward, and then I'm going to release my shift key. Click somewhere within the box and drag the photo into place and continue re sizing it if you need tio because it can be hard to tell what size you wanted exactly if you don't have it in the right place and when you get it just right, go ahead and place returned to tell photoshopped that you're finished let's, go ahead and add a little inner shadow to this one as well, so make sure that you're on the couple photo go down to the effects button choose in her shadow and because I pressed make default a little while ago when we first started this technique, those settings air still here however on this round frame I've got too much of a shadow going on, so I'm going to go ahead and experiment with these sliders to make it a little bit more subtle I'm gonna take down the size a little bit in here we can see the choke cider them we had the great question on it feels like it effects with but I don't see how that could be because we've got a size cider here, so I'm not real sure it again adobes description of it is pretty cryptic so lisa, I'm not so sure if this is accurate, but I want to throw it out there because somebody had to figure it out in the chat room. Diana livingston has said reducing the choke moves the darker part of the blur the shadow closer to the edge, the darker part of the shadow therefore therefore revealing more of a blur and less of the dark part of the shadow it chokes it does that make sense? It sounded very logical in admirable and it still doesn't make sense to me but that's fine it doesn't have to you ok? So let's say that's all fine so I'm gonna go ahead and press ok and if we want to we can go ahead and do the same thing that we did on the last one let's go ahead, and we're not going to rotate these guys, so we don't have to lock the layer content in the mass together, but if you are going to rotate a frame since it's round it's not going to really show that it's rotated, but if you if it's not randy, do you want to rotate, make sure that you click in between the mask in the layer content, tow lock them together so that they rotate together case don't forget that step, okay now, add up. We don't really need to add more candace space, but we do need to mask this area in order to add a new color background so let's, go ahead and double click the background later to make it editable, I'll go ahead and in practice, good layer habits and name it frame. Now we're ready to select the area outside the frame so again have a go at it with either the magic wand or the quick selection tool, whichever one you'd like, I want to make my brush size a little bit smaller and paint around the edge of the frame, and with just a couple of clicks and drags, I've got a good selection of that area now we can add our layer mask, so click the circle within a square icon at the bottom of the layers panel and if it does, the does the exact opposite of what you expect. C I told you nine times out of ten, this is what happens to me, so don't panic when that happens to you, we're going to open up our masks panel my master panel is over here on the right hand side it's open but it's collapsed right now so I need to double click the dark gray area to the right of its tapped open it and we're gonna click the invert. But again, you won't have this if your own cs three so now we're ready for our new background. I'm gonna go ahead and collapse my masks panel again. Now, this time, instead of a solid color field there we're gonna add ingredient just because we can. We haven't done this yet, so we're going to talk up to the layer menu. Choose new film layer in this time instead of solid color. Go ahead she's grady it just for fun, but shops and asked what name you want to give it? I'll go ahead and let it stay uh, the default so here is our grady and phil dialog box, so the current grady and that we're seeing is being picked up from our color chips, okay it's giving me a transparent, too. My foreground color chip grady it that's not really gonna that's not really what I want for this image so let's see what else we have you can click a little down we're pointing triangle in the grady and preview area to open your other grading it presets and there's a slew of them that are built into the program, but you won't see them from the get go. Okay, you're only going to see a few grady ints in here, so what you can do to load more is to click this little right or pointing triangle. Once you've clicked the down reporting tryingto open this panel, then you can click this one look at all these grady ints that are built into the program that you can load ok, so let's, go ahead and load past tales you can pick any one of these you'd like, but I'm going to go ahead and choose past tales in photo shop asked who would you like me to replace all your current grainy it presets with this new sit? If you want to do that, you could press ok, but what I usually do is I click upend because it adds the new set that I'm loading onto the end of what's already there, and even if you clicked ok, you're not erasing the presets you can always load them back. You're just erasing them from this little menu right here that you're seeing so I'll go ahead and click a panned you see all these wonderful little past dog radiance we got here so I'm just going to click one of them and you can keep clicking to find one that you like okay so I'm gonna go with this yellow green blue go ahead and click ok when you're finished and then the last step is to drag that grainy it phil layer to the bottom of your layer stack in that fun it was a heck of a lot of fun so this is a great technique for um like our wonderful in studio guests pointed out photographers and want to showcase how their artwork might look framed also for web sites you know this is this is a little bit more why a lot more visually interesting than just slapping a photo somewhere so all kinds of of uses for this he might even use ah thin photo frame for a business card you know all kinds of uses so let's take some questions and you know what? Tax questions for about five minutes and then have a break so a question for monica by the shore is when would you use the select color range and then also sweet jones photography had said you might have already answered this but why not use the color range for selecting all the white there are many, many ways as off creating a selection in color in father shop, so yeah, we're not really gonna be using the color range tool in the scope of this class, but it certainly is an option. I find it to be a lot more technical so I wanted to keep it is as simple and practical as possible but that is definitely a way that you can do it guitar goddess would like to know how would you load the original selection of grady ints back if he changed them? How would you load theory journal grady it presets back if you change them well let's just take a look that I'm gonna double click the grating it phil layer thumbnail because just like with our solid color film layer we'll open up the color picker double clicking this thumbnail will open up that grady and phil dialogue once again so let's just give that a try when it click the grady and preset picker triangle and I'll go ahead and click the little fly out maybe trying well here and unload another set of grady ints we'll do spectrums in this time I'll say replace okay so now my my other radiance went away so the way you would get them back is tio click the grading at preset preview again the open this panel click the flyout menu and you can choose reset radiance and that will take you back to the default all the ones that were originally there great thank you. I enjoyed this comment in the chat room from little miss picasso ah ha I just color selected lisa's hair color live from when you're showing how did select something from I photoshopped so I thought that was cute funny story is that when I wrote photoshopped the missing manual the first version I wrote it that would see us for so this would have been in two thousand eight when I was writing this book I was blonde okay, so when I was doing the section on how to change the color of anything which we're going to be doing some of that on friday I used my own blonde picture and when I change the color of my hair to read using that technique I liked it that's how I got this red here so good job that it's hilarious. Okay, you know, hair is a big deal for us in the ladies especially because a lot of ourself a state has wrapped up with our hair so before you go in for a major color change at the beauty salon, you can do this stuff at home and you can figure out what looks good and what doesn't maybe you could answer a couple of them I she would like to know if you can change the color of the great aunt to our own choice and quite a few people are asking about changing the direction of the great aunt or the angle of the radiant as an racer and cats I yeah I can cover just a little bit of that real quickly so you've got animal control right here in the grainy it feel dialogue ok and if you want to reverse it so right now we have a yellow to blue radiant wolf I want the opposite you just click reverse ok so those are the easy two options if you want to edit your own grady it you can so you would click click instead of clicking this old down we're pointing triangle to open the presets what you want to do is click on the grady in itself and you're going to open up what's called the grady in't editor it's a little scary looking but it's manageable so it shows you all the presets up here and you get that same little fly out many that you can use to load the other built ingredient says and there are a slew of them again great great excuse for a friday or saturday night your favorite beverage favorite bottom line go through all these killer like you all right so here this is where you can actually edit your grady it okay so if you click any one of these little guys these air called color stops if you click any one of them then that color that it's currently set to shows up in the little color well right here you can click the color well and you'll open the color picker and you can choose any kind of grady it you want you can move these stops around to affect the width of the fate of each color and you can add more stops so I'm just going to scoot these guys way over and I'm going to add another stop you just click on the empty spot of the bar and that as another stop so let's say I want to change the color of that stop it's activated right now I know it's activated because it's got the little black tip on it and it's color is showing up in the color well and if I give that a click I'm going to change it to something really noticeable like red see how now I've changed the grady int and then after you add that color you can go back in and by dragging those color stop she confined tune where it starts and stops and the last thing I want to show you before we head to break is you can delete these color stops by clicking and dragging them off of the bar so that's how you would customize your own grady and if you make the world's most amazing radiant then you can save it as a preset so after you find tuned it you can click save. And then you can give it a name. And you'll have access to it for ever more.

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.

Software Used: Adobe Photoshop CS 5.1


1Introduction: Nitty Gritty Basics + Layers 2Workspace Overview 3Q&A: Workspace 4The Truth About Resolution and File Formats 5Changing Resolution Without Changing Quality 6Q&A: Resolution and File Formats 7Resizing with the Crop Tool 8Cropping with the Ruler Tool 9Resizing with Content-Aware Scale 10Resizing for Print/Web 11Layers and Layer Types 12Duplicating, Moving, and and Aligning Layers 13Q&A: Layers 14Creating Reflections 15Layer Alignment Tools 16Simple Slimming Technique (Resizing Layers) 17Colorizing a Black and White Image 18Creating a Solid Color Fade with Fill Layers 19Layer Masks: Hand Painted Image Collage 20Layer Masks: Gradient Mask Collage 21Layer Blend Mode Collage (Include Load Images as Stack) 1Using Selections Part 1 2Using Selections Part 2 3Q&A: Selection Tools 4Color Selections: Fixing Animal White Eyes 5Tightening Up Layer Masks 6Painting Selections with QuickMasks 7Using Vector Drawing Tools 8Vector Shapes: Creating an Oval Vignette 9Vector Shapes: Rounded Edges to Photo 10Use Channels to Create Selections 11Tough Selections Around Hair & Fur 12Refine Edges Part 1 13Refine Edges Part 2 14Creative Edges on Photos 15Embellishing with Vector Art 16Creative Vector Photo Frames 17Editing Smart Objects 18Smart Objects Template: Creating Dark Edge Vignette 1Smart Objects: Selective Blurring 2Smart Objects: Selective Sharpening 3Sharpening with the High Pass Filter 4Q&A: Sharpening 5Auto Color Adjustments 6Shadows and Highlights 7Using Levels 8When to Use Smart Objects 9Using Curves 10Lightening and Darkening with Blend Modes 11Enhancing Eyes and Teeth 12Changing Colors with Hue/Saturation 13Changing Colors by Hand Painting 14Faux Dodge/Burn: Reduce Wrinkle 15Color to Black and White 1Healing Brush 2Content Aware Fill 3Using Text in Photoshop 4Designing with Baseline Shift 5OpenType Fonts 6Placing Text Behind an Object 7Barely There Text: Faded and Hollow Text 8Pushing Photos Through Text 9Adding Texture to Your Text 10Convert Text to Paths 11Combine Images using Advanced Blending 12Realistic Photo Aging 13Faking HDR 14Wrapping Texture Around an Object