Tough Selections Around Hair & Fur


Adobe® Photoshop® Intensive


Lesson Info

Tough Selections Around Hair & Fur

This time we're going to start out with this. I stock frizzy hair, lady. Ok, so what we're going to create is a silhouette. Look at all that frizzy hair. So here's, our original image, would you even want to create a selection of that? That is some scary stuff right there. Okay, so let's, go ahead and close that one. And I'll go back to the original photo that I started with. I stopped frizzy hair. So here we are, let's. Say we need to swap her background. Ah, yeah, yeah. So let's march through our channels, see where she is the darkest. So we can do that with keyboard shortcuts. Or you can just go into the channels panel and click them. So I'm gonna start out with commander control. Three, three, four, five. And if I take a peek in my channels panel again it's the blue channel. It will most always, most often times be the blue channel that you end up on. Just one more note on keyboard shortcuts. There was quite the hell a bully that happened in the photo shopped community inversion cs...

for when it came out, adobe committed a major faux pas and they changed the keyboard shortcuts of channels. A galactic size screen went up from the community and so in c s five adobe gave you a way to set them back to the old keyboard shark it's all they did was they bumped them up, so it used to be command two, three, four tomorrow should the channels and they bumped it up one and now its command or control three, four five we don't change keyboard shortcuts on veterans like that, so the way you can change it back if you have been screaming about the change, you can go up to the I think it's the edit menu yes edit menu keyboard shortcuts in right here is the option that's new in c s five if you turn this check box on, you can go back to the original keyboard shortcuts for cycling through channels, so if that's important to you, then that is how you do that, okay, but nevertheless, so we're over here are channels panel and we have landed on the channel in which the item that we desire to be selected is the darkest because our goal is to make her black in the background white what if we can get that? Then we can get a perfect selection even through all that frizzy hair, but because we don't want to mess up our original image, we're going to duplicate the channel before we start messing with it. So click and drag it down to the new channel icon so now we're working on blue copy and now we're going to summon a levels adjustment so you can either choose image adjustments levels or simply press command or control l which is what I'll do this time here we go here again you want to start by dragging the shadow slider to the right and our goal is to make her solid black so you can keep dragging however if we drag all the way over we get a big ole miss so you don't want to push it quite that far what we want to do is we want to get her as black as we can before we start destroying all the fine detail in her hair because as I keep dragging that shadow slider to the right see how the hair over there two starts becoming really pixelated and messed up we don't want that okay so you want to push it as far as you can without destroying the fine detail in those wispy areas now are background is still okay it hasn't gone gray or anything like that so what we're going to do is go ahead and click ok can anybody tell me how I might make this part of her black it's so simple you won't even believe it anybody have any idea do what the paintbrush if you can't push the thing you want to select two solid black but you can get it almost the way they're stop grabbed the regular old breast tool set your four grand color chip to black easily done by pressing d for set my color chips to default and just press x so black is on top come over to the part of the image that you couldn't push to solid black and painted ok I also want to get her nicolas because anything that ends up gray or white in this area when we mask it that's going to be see through so we don't want that okay so I've simply used my paintbrush to fix the part that I couldn't turn two solid black and I only need to turn it solid black toe loaded as a selection so now I am set to g o so now watch what happens when I click that low channel ist selection button at the very bottom of the channel's panel again it looks like a little dotted circle look at that beautiful selection so we gotta flip flop it again so let's go up to the select menu and shoes in verse now we're finished with that blue channel you can discard it if you want you can throw it away if you want it's not really going to add the file size very much so I usually leave my I'm hanging around but you just want to click it back on the rgb channel to see the full color image so now we're going to come back to our layers panel and we're going to double click her layer to make it editable and we're gonna add a mass by clicking the circle within a square icon at the very bottom of the layers panel look a that selection like that mask isn't it beautiful look at that you can even see transparency through the hair can you even believe what your eyes we're showing you here isn't that amazing it's incredible, isn't it so that's one way to get really really tough selections we're going to look at another way here in a minute using the refining his dialog box but let me show you one other variation on this technique if we wanted to create that silhouette effect we could command or control click on the mask icon toe load that as a selection are you wouldn't even had to add a layer mask okay, so I'm gonna back up one step before I added the layer mask, so I'm fresh out of the channel's panel right now if I want to create that ever so popular silhouette effect the apple nearly ran into the ground in its ipod ad campaign I'm going to click the new layer icon or any of the other methods we've used thus far to make a new layer go ahead, make a new layer and we're going to feel the selection of black that's it so we can use the edit menu choose phil and from the eu's poppet menu choose black and then click ok or if you already had black is your foreground colored ship because maybe we painted the girl's face back in the channels pale then you could create the new layer and then use the option delete keyboard shortcut on the mac or control or alter backspace rather on a pc to fill it with your foreground color so soon as I do that I've got a great uh phil of the hair here so I'm gonna get rid of my marching ants by person commander control d I'm gonna turn off the visibility of the original layer and now I'm gonna add a solid color phil there okay, so I'm gonna go ahead and choose layer new phil layer solid color and for a true silhouette type of look you need to add a really really bright color okay, so we'll go for fluorescent green because we can proof here's your silhouette let's do it again this time we're gonna go native so I'm gonna go ahead and delete these two layers that I created here I've got one of them activated already I'm gonna shift click to activate the second one, press the delete key that was a new feature and see us for if you're using cs three, you cannot delete layers with the delete key ok, so let's do it again so this is another situation where I would hate to have to select him because of all that fringe so we're gonna march through our channels to see where he appears the darkest so commander control three, four, five now let's open our channels panel and sure enough, we landed on the blue and again and you know you can see my blue copy still hanging around well thought out away there we go. So now we want to duplicate the blue channel because we want to safeguard our original, so I'm going to click and drag it down to the new channel icon at the bottom of the channel's panel. Now we're going to bring up a levels adjustment so we can force the dark parts black enforce the background, white commander control ill, grab the shadow slider, drag it to the right and just watch those areas of fine detail as you're dragging it ok, so I could go pretty far on this one, but I want to stop right about there because I don't want my background to get too dark now I'm gonna click my white eye dropper to activate it mouse over to the image because this one wasn't this shot was not on a white background, it was on a blue background, so our background has gotten darker, so now we're going to click in that gray area and just keep clicking until you can get rid of all the gray and what happens if you can't get rid of all the gray paint it with a white paint brush. Okay, so let's, go ahead and click ok, so now I have a little bit of gray left in this area right here, and I've got these areas that still need to be black as well is over here, so I'm gonna press beat, activate my brush tool d two sent my color chips to the default to black and why, since why is on top? I'm gonna go ahead and fix that little background part that was still gray now many press x to flip flop my color chips zoom in a couple of times so I can see what I'm doing use my space part and move around within my image while I'm zoomed in and I'm just gonna paint those areas black mouse over with my space bar, go down and brush size so I don't bleed over into the background got a little bit of an area right here that I want to fix, and if I was doing this for real at home, I would probably take more time with it, but we want to make sure that we get through all ever wonderful techniques that I have for you there we go, perfect now we're set to load that channel as a selection, so click the dotted circle the bottom left of the channel's panel flip flop your selection so that the indian is selected instead of the background to go up to the selectmen you choose in verse at the top of your channels panel, click back on the rgb channels so that we see are brought in colorful indian. Now we're ready to go back to the layers, pain also, go ahead and give that tab. Click we can either at this point add a layer mask or make a silhouette so let's do both let's double click the background later to make it editable and add a layer mask. Amazing. We're ready for swapping the background out. Okay now, let's, undo that and let's, do our silhouette, so create another new layer, and this time lebanese are keyboard shortcuts of shift command in on a mac or shift control in on a pc, and I can name this one silhouette, five light and now it's, just a matter of filling it with black since I already have black is my foreground colored ship in the bottom of the tools panel, I can use my keyboard shortcuts, which are optionally on a mac, or alter back space on a pc to fill that with color. I'm through with my selection. They also let's get rid of it by de selecting by pressing command or control d now what we need to do is add a solid color, phil layer orig, radiant layer whatever. You would like a new background, but to create the silhouette apple. Look, you need to add a solid, bright color. So this time let's add that by using a little half black, half white icon at the bottom of the layers panel cruz all the way up to solid color and let's put him on red this time. That's a little bright. There we go. Not too shabby, huh? Any questions on that? A couple? Probably. There were some questions, and this is kind of going back to the last images. Well, um barbosa had asked how contrast c does the image have to be to get a channel to go black and separate from the background documents moving? I tested this with a graybeard on a green background and I cannot get the separation contrast does come into play in this. Definitely. So the more contrast you have the better chance that you can use channels to create a selection, so it varies image by image. You know my advice is you know, run through look at the area you need to select run through this election tools that we've been through today figure out which one's going to get you the farthest and if none of them will work, try the channel meant that if the channel meant that doesn't work, then the refined edge method that we're going to do next will yes might it help to change the color of the background first before you go through the channels method like his green he could have made white it could be helpful tio increase contrast in your image before you try to get a channel selection or change the color of the background or we mentioned a shooting on green screen earlier in the class if you're the photographer you can control this take another shot if you can because this technique is way, way, way easier to do with a solid background ok, why is the easiest? As you saw with the lady with the frizzy hair so it's definitely a time saver if you can take another shot take another shot but this is a great technique for photographers also so when you're doing a photo shoot, go ahead and shoot your client on a white background and offer them a silhouette as an extra extra piece of art cool we have a lot of people, he said in the chat room who are saying this made their day that they're having a lot of ah ha moment so good so that is awesome um somebody's asking can this technique works similarly with a cartoon or clip art after yeah any image anything I work with an image the more contrast the better but again with the painting tools you can see how you can find him and even if you can't force it you know to be black and why you can paint in those areas so I know you kind of just answer this but the seat ct photo ass what do you do if the background is not plane for example yeah it's unclear what's that he pray it really ok you're talking about yeah this just one of many different methods for getting tough selection so if you've got a really busy background this one isn't gonna work as well but you just got to try because you never know you know with with some of the color and lighting correction tools that we're going to get into tomorrow you will begin to understand how you can prepare the image for this kind of thing basically you're going to destroy it by adding ah whole lot of contrast to get a channel selection and then you can go back in and by using adjustment layers and you can just delete the extra contrast that you add it then you're back to your original image but you've just you know you you've destroyed the image. To get a selection within, you can bring the image back.

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