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Photoshop: Selection and Masks

Lesson 16 from: FAST CLASS: Light Painting

Tim Cooper

Photoshop: Selection and Masks

Lesson 16 from: FAST CLASS: Light Painting

Tim Cooper

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Lesson Info

16. Photoshop: Selection and Masks

Lesson Info

Photoshop: Selection and Masks

this particular night, you can see we had pretty heavy cloud cover. You guys probably saw there's a ton of rain. I probably looked like a drowned rat, but we do get some ring, and that cloud cover is not incredibly interesting. In this photograph. I'd like to see maybe some color attitude or maybe some texture added to it. But in order to do that, I have to work locally. And if I want to work locally, there's a couple of things I can do. I can either pink or it could make a selection. Let's start with painting because that's going to be the, uh, the easier way to understand for starters now, when we were back in later, when we're back in late room and we want to develop module if I wanted to change this sky, what I could do is that could grab my local adjust adjustment brush, change the color to say blue, and then I could just start painting and that would paint in the sky. All right, so we've seen that The only problem is it's gonna be a little bit tough to get right on that edge. It ...

could be done and certainly this would be an easy enough image to do it with, but it's gonna be a little time consuming. Now, let's take what we understand here and move it over to photo shop. What I could do is create a mask. First, I'm gonna choose my adjustment. So if I chose, let's say we'll do color balance here, and I choose. Uh I'm sorry, guys. I just went through without telling you what I'm doing. Instead of going upto layer new adjustment layer and over and down, that is just so much mousing that nobody who has time for that that's just takes too much time. So the quicker way to go is just to go down to this little chocolate cookie dipped in white Belgian chocolate. You can see that right down here in the bottom of screen. I'm gonna click on that and just get to that same list, and I'm gonna go to color bounce. All right, Now, if I start adjusting my color balance right now, the very nature of this adjustment layer is that it's a global change. So if I had a bunch of magenta, my entire image gets magenta. All right, if I had a bunch of blew, my entire image gets blue. That's because this adjustment layer is a global adjustment. It's because this, which is called The Mask, is white. So now I want you guys to think about this for a second. If I grabbed a print and laid it down and I had an adjusting piece of acid Tate and I laid it on top. This is the knob. And as they change it, my image gets more blue or it gets more magenta. Um, well, if I just took a pair of scissors and cut some of this acid Tate away, that change wouldn't show through below. And that's exactly what we're gonna do here. Let's just make this crazy. Change will change it to Magenta. And now, wherever I cut through this mask with a pink brush, it's gonna go away. So I'm gonna click on the mask, grab my paintbrush and sure that I'm using black as a foreground color here and now wherever a paint, I would basically be removing that magenta from the image and you can see this being drawn on the mask to the right hand side is I'm going through here. Each stroke is making paint. The beauty about photo shop is that you don't have to do is much manual work. So let's just throw that adjustment layer out, all right? What we're gonna talk about now is something called selections and a selection is a much easier way to create a localized area in which to adjust. The easiest selection tool is probably the quick selection tool aptly named. So I'm gonna click on that now. The only thing I have to do here is click and drag through the area. Want selected in this case, I want the whole sky selected. So, people, it's just this easy. I'm gonna make my mouse a little bit bigger By using my right bracket key, I'm gonna click drag through unclipped that is now selected that is times 15 times faster than trying to paint that thing through in light room. All right, Now, if I want to include this little sky down here, I just click through there and that selected. Now here's the beauty people. When I go to my adjustment layer and I choose color bounds, it's going to turn. What was a selection into the mask. Look at that. That would take quite a bit of time to paint that kind of a mask. Right. But that quick selection tool did it in a heartbeat. Now I pull up my adjustment, which is our color balance and the color balance Is Onley gonna come through where the mask is white? So now I could take my, uh, yellow Slatter and push a little bit more towards blue start to add some more color into that sky up there, you could start playing with the scion, read access toe, you know, suddenly find Tune that blue. Let's push. It may be that direction and that might be a bit Hampus. Maybe that's too heavy, so I'll just back it off a little bit. But I want to push it just a touch. So you guys get the idea of what's happening. So now when I take the eyeball on and off, you can see that color overlay that I've given to that sky. And again, I think that's a little heavy, but I want to overdo it. So you guys at home can see exactly what I'm doing. If I wanted a lesson it I could go to my A pass ITI and pull that back a little bit. But the idea here is that I did it very, very quickly by using a quick selectable rather than you know, taking my time and painting every little corner and edge and getting in close back in light room, which just takes forever. So make a selection, turned it into a mask by creating an adjustment layer, and it's going to be a lot easier.

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