Compositing Portraits with Photoshop | Rob Sigler | Skillshare

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Compositing Portraits with Photoshop

teacher avatar Rob Sigler

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (1h 8m)
    • 1. Introduction to the class

      2:06
    • 2. Intro to the Gymnast

      0:33
    • 3. Gymnast 1

      9:20
    • 4. Gymnast 2

      3:12
    • 5. Gymnast 3

      2:02
    • 6. Gymnast 4

      5:20
    • 7. Intro to Ballet

      0:36
    • 8. Ballet 1

      2:48
    • 9. Ballet 2

      5:24
    • 10. Ballet 3

      6:43
    • 11. Ballet 4

      10:31
    • 12. Intro to Hockey

      0:40
    • 13. Hockey 1

      7:45
    • 14. Hockey 2

      3:58
    • 15. Hockey 3

      2:03
    • 16. Hockey 4

      5:10
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About This Class

Have you ever wanted to "extract" a person from a photo, and place them against a different background?  Have you tried this, only to see results that looked fake?  In this class, I'm going to show you exactly how to cut people out of an image, and move them to a new background.  No selection knowledge is needed.  I'll start at the very beginning.

Now, you're probably asking, why in the world would I would I want to subject myself to this type of tedious work?  Well, let me give you a few reasons:

  1. This process make your images look REALLY COOL!  Your clients will love this look, and will be amazed at how you did this.
  2. This will set you apart from your competition.  With the cost of DSLR camera so low, there are more "professional" photographers than ever!   These techniques will give you the edge you need to stand out.
  3. It's easy and fun!
  4. This technique will allow you to take event portraits in a school gym, a dull room, or a dance studio.  If you have a blank wall to work with, you've got everything you need (except for the camera and a light).
  5. Please re-read number 1.
  6. Your clients will remember you, and you'll be a topic of conversation to anyone who sees your work!

This is a basic compositing course.  You'll need Photoshop, preferably the latest version (Photoshop CC 2017), and a brief knowledge of layers and layer masks.

I love compositing, and I hope you will too after taking this class.  If you have any questions, I'm more than happy to help!

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Rob Sigler

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Transcripts

1. Introduction to the class: my guys, Have you ever wanted to take a person and cut them out of the picture and put them into a new background? Or have you tried to do this? And it just looked awful. My name's Rob Sigler from professional portrait photographer and re toucher. And in this course I'm gonna show you how to do exactly that. We're gonna take a photo of a person we're going to cut the Mount, were gonna transport them into a new background. Now you may be asking yourself why on earth would you want to subject yourself to doing this sitting in front of the computer and extracting each person out of a photo? Well, let me give you a couple of reasons. Number one. It looks really cool. I have clients that come in and look at their picture and say, Oh my gosh, how did you do that? And it's going to be something that's going to separate you from your competition number two. I do a lot of event photography, and I go on location to shoot thes portrait's. For example, if I have a dance studio, I wouldn't want all 300 kids coming to my studio. I go to them, and when I go to these places, sometimes the backgrounds aren't the nicest backgrounds to be used in a portrait. For example, I was at a gymnasium the other day for basketball, and there were kids playing basketball. There were little kids running around. There were adults, not a good environment for a portrait. So by shooting them on a solid color paper, I use white or gray. It's very easy to extract them out of the image and put them into a new background. And that's exactly what I'm going to show you how to dio. We're going to use a ballerina. We're gonna use a hockey player and we're going to use a gymnast. And then these three examples will show you how easy it is to take someone and put them in a new background. I hope you enjoy this class 2. Intro to the Gymnast: thanks for joining us in our first section of this class. We're gonna take a gymnast off the background and put her into a new background. I photographed these kids either sitting on a balance beam or standing on a balance beam. And this made it very easy for me because I didn't have to worry about making a floor or creating shadows and reflections onto a floor. It made the cut out process extremely easy. I just put a piece of white paper behind them, and I use one giant light and made the picture. 3. Gymnast 1: Welcome back. Today we are going to take this gymnast and extract her from this picture and place her onto this background. And for our first extraction, we're gonna go pretty slow. I'm gonna explain some of the different tools you can use to extract your subject. And the next two examples will go a little bit quicker. But for the 1st 1 we're gonna go kind of slow now. First of all, where did we find this background? Well, if you open up your Web browser and go to Google and type in red and black background, you will find a plethora of images to choose from. Google is a great resource for finding images. Um, and with these tools, we can select a size that we want to use. For example, we want to find a background that is larger than four megapixels, so that when we print it, it prints without distortion. When you choose a background, just simply click on it. And then here, If you hit view image, you can see what that's gonna look like at full resolution. Now, some of these air copyrighted. Some of these belong to various people who are selling art and what not. So make sure if you're going to sell an image that you have permission to use the background in your photos. But Google is a great resource for finding backgrounds to use in composite photography. Okay, so the first thing we're gonna do is retouch the image. What do we want to fix on this image before we do any extractions? So what I like to do is zoom in at 100% and just see if there's anything we can touch up quickly. So, like scratches and bruises, things like that. I'm not talking about doing any riel beauty retouching or sharpening or hair retouching. I'm just talking about big things that might be pretty easy to fix. This girl doesn't have any blemishes. There's some straight hairs, but we're not gonna worry about that. I make sure there's no strings sticking out of their uniforms, anything like that, or any dirty spots that might be on the balance beam. For example. I'm just using the spot healing brush to go through and make sure everything looks really good. Now, I photographed these gymnasts against a white paper background. I knew I was gonna extract them from the image, so having them against white will make this really easy. There are several tools you can use to make selections in photo shop. Um, the marquee tool we can use. We can use the lasso tool. We can use the quick selection tool and there's the magic wand tool. Each tool has its pros and cons. Today, we're going to use the marquee tool first. The marquee tool is great for making selections that have straight lines in them. So if I wanted to select a box, I could just drag it on the screen and the marching ants would show us that it is selected . I'm gonna use the marquee tool to select the balance beam because I know the balance beam is perfectly straight and this is the easiest way to make a selection of it. So I'm just gonna drag a box over there. Some of the balance beam right here didn't get selected, but that's OK. I would rather have the balance beam look perfectly level and perfectly straight. The next tool I'm going to use is the quick selection tool. And because I shot this on white, it's gonna be very easy to get the gymnast off of the background. So I'm just going to start up here with their hand and slowly drag around the image. Photoshopped does an excellent job of guessing where the edges are to make the selection with. And even just a few years ago, this was not possible. Now I want to de select this white area right here where her arm is because it accidentally got selected. So I'm gonna hold down the option key, and you could see the center of the brush tool gets turned into a minus sign indicating that we're going to subtract from our selection. So I'm gonna hold down the option key and just color this part in, and that looks really good. Now, how do we know how well it actually selected the hair or fingertips? Any part that's difficult to select. What we can do is click on this select and mask button and it's gonna open up the select and mask dialog box, which looks like this in this area. We have different views, weaken view our selection against, for example, we can view our selection against black and immediately when you view it against Black. You can see a spot down here on her leg where there's some white you can see. There's some fringing around her hair. You can see there's some white down here by her foot, so viewing it against black in this situation would be a good idea. Now look how nice the balance beam looks. It's perfectly level and very nicely cut out. Okay. Lets fix up our image where Photoshopped failed to make the correct selection. What I'm gonna do is press are which will bring us to the refine edge tool. And what that does is it tells Photoshopped to take a closer look at what it selected. So I'm simply gonna outline her hair. Photo shop is pretty Laghi. When we use this tool, however, it doesn't excellent job. Look how natural her hair looks cut out right now. I'm going to fix this white spot right here, and I'm going to zoom into her foot down here. We'll see if we can fix that up. I'm gonna make the brush a small as I can. And that looks pretty good for now. Now, if we're happy with our selection, what we need to do is turn up the feather slider just a little bit. Nothing screams. I just made a composite mawr than having chiseled edges of the image. We don't want the image to look very, very hard at the edges, so what I do is turn the feather to about 0.7, and that will make the lines a little bit smoother. Also, I want to make sure that I output this layer to a new layer with a layer mask, and that is going to make sure that we can come back and fix things that might not look perfect. For example, I can see a couple right away right here. It chopped off part of her arm. I didn't notice that, and I think we can bring back part of her hair a little bit better. So what I'm gonna do is click on the layer mask now with the paint brush tool, which is be on the keyboard. Wherever I paint white, it's going to allow the background to show back in. Undo that wherever I paint black. It's going to erase from our layer mask, so I'm gonna hit undo. So with the layer mass selected, I'm now gonna brush using the color white. Now you can see here that are top color or are foreground. Color is black and our background color is white. We want to switch that and you can easily do that by pressing X on the keyboard. Now, with white selected, I'm going to simply brush back in with a soft brush. Some of the hair that got deleted there. - And there we go, because we're keeping the layer mass active on the layer will always be able to go back and change the selection at any time. Because when we put this against our new background, we may see pieces that we didn't notice before. So we always want to keep the layer mask intact. Our subject is extracted and ready to be moved. So in the next video, we're gonna be placing her on a new background. 4. Gymnast 2: Welcome back. Our subject is now ready to be transported into the new background. So what I'm gonna do is press V. So I have the move tool, and I'm going to come down and click on her and drag up to the tab where my background layer is that I'm gonna bring it down and let it go. Now what do we notice? Well, the first thing is, we've missed some spots in her hair, but that's OK, because it's easy to fix because we've kept our layer mask and at any time we can go back and adjust it also, what do we notice? Well, she looks like a giant. I shot this with a 50 megapixel camera and the background isn't quite 50 megapixels, which is fine. We can easily reduce the size of her while leaving our background image as is. So I reduced. So I zoomed out on my picture by pressing command and minus Now that I can see that handles of that layer Still with the move tool selected, I'm gonna press shift and grab unease handles and bring it in. If I didn't hit shift, what would happen would be I might accidentally squish it this way or squish it that way by holding shift. It constrains the proportions, which is exactly what we want, especially when working with people, because we don't want to make them look unnatural. Now we have to decide where we want to put this in our image. I think if we put it on this side, the little swishing in the background might be a little bit much, although it would help us blend in our hair. But let's move it over here just like that. Perfect now and hit enter to commit the changes that we just made to our gymnast layer. So now we've still got two separate layers the background layer and our gymnast layer. What we can do now is crop this so that our image looks a little better. So I'm just gonna press see for the crop tool, and then I'm gonna crop to the edges of the balance beam pumps. There we go. Press enter again, and now our image is really starting to take shape. What we need to do now is blend in her hair a little bit, so I'm going to zoom back into 100% Select my layer mask and with a black brush notice again, black is in the background. So I'm gonna press X on my keyboard with a black soft brush. I'm just gonna color in anywhere where I see a white edge sticking out. Our image is starting to look really good. In the next video, I'm gonna show you a few things you can do to make the blending look a little bit more natural. 5. Gymnast 3: Welcome back. We are almost finished with our composite today. There are a few simple things we can do to make this blending look a little bit more natural. Now look at the color in the background and look at the foreground. What do we notice? Well, it looks pretty good, but the red in the background is kind of fire engine red, and this red is a little bit more muted. So let's work on the Reds in our background and see if we can get them to look a little bit more like our gymnast. So what we can do is click on our background layer, then come up to hue saturation. We don't want to de saturate everything. All we want to de saturate a little bit are the Reds. So instead of master, I want to select Reds and I'm simply gonna turn the saturation down just slightly. Now already that looks much better. And if I'm happy with that, I can leave it just like that. Let's do one more thing to make her blend in a little bit better. I'm gonna add a little bit of light to make her stand off the background just a little bit . There's a lot of contrast in the background and there's a lot of contrast in the front. So what I want to do is is just make a little bit of separation. So I'm going to click on the background layer. I'm now going to select the new layer I come. So we just added a blank layer in between the background and the gymnast with a large white brush and soft brush. I'm just gonna click one time and you can see that it added some magical looking light behind her. We can turn down the opacity, and I think we're set. Now that looks pretty good to me. In the next video, we're gonna add some text to the balance beam and finish off the image. 6. Gymnast 4: Welcome back. We're almost finished with our picture. What we're gonna do to finish it off is add some text on the balance beam and I'm actually gonna type the name of the gymnastics group on there. And I'm gonna do that by pressing T for the text tool. And I'm going to select a very bold font and I'm going to click on the layer and I'm going to type the name of the group. And then I'm gonna press command enter to commit those changes. Now, if I press V for the move tool, I can move the text anywhere I want. And what I want to do is grab the corner and just kind of bring it out like that. Now press enter to commit that to the picture. Now, let's make it look like the letters were actually carved into the balance beam. And this is where you can really spend some time experimenting to get everything toe Look just the way you want. If you double click on the text layer, the layer styles box will pop up. And here there are infinite options. I'm going to start by clicking on Bevel and in Boss and I want to do a pillow and boss, and we're gonna turn the depth of the size down to about there. I found the best way to really use this dialog box is to just experiment with the sliders, see what you'd like. See what you don't and that will give you at least a starting point. Now see where it says, Phil, I'm gonna turn the fill all the way down because I don't want the letters to be colored. I wanted to look like it was carved into the balance beam, so I turned the fill 20%. If I double click on that layer again, we'll go back into the layer style dialog box. And now we can add a few more things that will make the carving look a little more realistic. So with the Phil turned off, let's play with the depth. I think we're going to keep it right there. Now I'm gonna go down to in her shadow play with that just a little bit. You can experiment with the depth and let's try color overlay. Maybe we'll pick our red from the image and turn the opacity down. Let's play with that shadow again, I'd like to get that a little bit bigger so the letters look a little more deeper carved into the balance beam. Okay, let's pretend like we're happy with that. Everything looks pretty good, except for the text is carved into her knee. I'm sure her parents wouldn't appreciate that. So let's fix that. The first thing we have to do is Rast. Arise our text layer. Now what does that mean? That means we kind of render this into a normal graphics layer, not a text layer. So if we right click on the text layer and we're going to hit Rast arise layer style. Now this layer looks more like the layers we've been used to working with. So I'm going to create a layer mask on this layer, and I'm going to use my black brush to paint away where it overlaps her leg. Now, before I even start to erase from the letters from her leg. When I think I'm going to do is turn the text layer off. I'm going to select the layer with the gymnast on it. I'm going to select the quick, select tool, and I'm just going to make a selection of her legs. This will make the painting process a little bit easier. It doesn't have to be exactly 100% perfect. Okay, that looks pretty good. No, I'm gonna hit shift command, I because I want to invert the selection. So I want everything selected except for her legs right here. Now I'm gonna turn the text layer back on, and then press the layer mask button and it will automatically build a layer mask based on my selection. So let's see how it did with her legs. That looks pretty good. And there we have it are gymnastics picture is now finished. I hope you've enjoyed this portion of the class. I've included these pictures in raw format so that you can do the same thing that I did here. I would love to see your results in the comments. If you have any questions, please let me know. I'm happy to help 7. Intro to Ballet: In our second course, we are going to take a ballerina from a ballet studio and put her into a background to be used for a promotional poster. Now, this set up was very easy again. I use one light source. I had a three foot Octa box on a pro photo, be one, and I simply posed the child in front of a white wall. I didn't even have to bring a background with me. I brought one light on my camera. Super easy set up. I will show you how easy it is to transform this picture into a work of art. 8. Ballet 1: Hello. And in this class we're going to take this pretty ballerina and composite her into this blue background which the ballet companies going to use for a poster. So before we cut out our ballerina from the wall, there's a couple things we need to dio. First of all, I shot this obviously, in a ballet studio against a blank wall. I knew that we were going to composite this out. So to make the compositing a little bit easier, we shot it against a blank wall. And the first step before we cut her out is to fix the image up a little bit. We're gonna add some read to her skin, and we're gonna fix her to to a little bit. So to add some read to her skin, the first thing I'm going to do is click the Curves Adjustment tool, Then select the Red Channel and I'm going to do is grab the very bottom of this and pull up just a little bit, which is gonna add some red into our image. I'm now gonna press command I to invert our layer mask and with the brush tool set toe white. I am just gonna paint on top of her skin, and it doesn't have to be super exact. Here we go. And I think I'd like to add a little bit of yellow into her skin to make her skin look healthy and warm. So I'm going to use the same curves adjustment layer. I'm going to come down to the Blue Channel and I'm gonna grab the bottom point here and move it to the right just slightly. What does that might be? A little too much. Here we go. So here's before and after with the skin just gives the skin a little bit more healthy of a glow. Next, I want to liquefy the 22 and make it a little more even down here by her leg. So I'm going to first flattened my image, then select filter and liquefy, and I'm gonna turn the pressure down to about 70. I'm just gonna pull her dress like that. I'm gonna pull this side out a little more. There we go. Well, press the okay key to commit these changes, and now our image is ready for extraction. 9. Ballet 2: Okay. This is the point where many people start to panic because they have to select part of their image. Photo shop has come a long way in recent years with making selections easier. I'm gonna show you how I do that. I'm gonna press W on the keyboard, which is the shortcut for the quick, select tool which looks like this. And I am going to make a brush about that size. I'm just gonna paint over her. You can see that photo shop is doing a pretty good job of guessing where the edges of her costume are. Because we shot this against a white wall. Now, if the wall was also purple and had a similar texture, photo shop would have a really hard time determining which part of this is the subject. In which part is the background. But I'm just going to nice is slowly cover up and select as much of a zai can. If I press the option key or all key, the plus on my cursor turns to a minus and I can take away from the selection. So if it ever selects anything like part of the white or part of the white right here. We can de select that by holding down the option key and just going around the edges. That actually looks really good. Now we can refine this selection a little bit. Photo Shop 2017 has this new panel called Select and Mask, and if you click on that, it will show you exactly what your selection looks like. Now, if I press be for the brush tool, I can easily paint on my image where I want to select. Or I can hold option and paint where I don't want to select. So we need to go around and fix up a few spots. The first spot is her nose, and I'm just going to use the brush tool. Very small. There we go. Now. How in the world would we take out this white in the see through areas of her to to, Well, photo shopped has a pretty amazing tool for doing that, and it's called the Refined Edge brush, and it looks like this. We're going to click on it, and I'm going to just color in the parts of the image that still have white, and it's going to do a pretty good job of figuring out that we don't want this white in our image. Okay, We're pretty looking pretty good right there. Now, the view tool shows some different options for viewing your image so you can view it against its original background with onion skin, you can view the marching ants which, personally I hate you can view it with black. You can view it with white. You can view the mask and you can view it on a layer. The Onley setting I really adjust here sometimes is the feather. Nothing makes an image look more fake that having a really hard, chiseled edge on the side of it. But turning up the feather about toe one pixel will make the very edges a little bit softer . Now, this is very important. We always want to output to a new layer with a layer mask because that will allow us to go through and change things that we might have missed in this process. So I'm gonna click, OK, and now you can see on a new layer. We have our original image and the mask. So when we put this onto the new background, we're gonna actually put this new layer with the layer mask so that we can go back and change it any time. So here is our image ready to extract. We can go in and paint on the layer mask. I'm going to use a white brush at about 30% opacity. I'm just gonna color and a little bit right here where it may have taken a little bit. Too much purple out of the dress. There we go. That looks pretty good. I'm happy with that. So when our next video, we're gonna move this to our new background. 10. Ballet 3: and welcome back. The next step is to take our ballerina and put her in the new background. So this is very easy to do. I've got my background open in this tab. I've got the ballerina over here. I'm gonna hold down V for the move tool. And I'm gonna make sure that my a copy of the ballerina with the layer mask is selected. I'm gonna click on her and dragged her up into this window and then bring her down. And now our ballerina is in her new background and we can place her. So I'm gonna put her right about here, and I'm gonna press return and everything looks pretty good. If I'm happy with layer mask, I'm gonna go ahead and commit this layer mask to the layer. And I do that by holding control and clicking on the layer mask, and I'm gonna hit, apply layer mask Now are layer is just the ballerina. The first thing we need to do is add some shadows. Obviously, she's on a some sort of floor, but there's a lot of light sources eso we need to add some shadows to make her look like she's really fitting into the scene. So I'm gonna make a new layer above her. They're gonna press the be key for brush. I'm gonna press the d key to select my default colors. I am going to paint with a black brush at 100% capacity, and I'm gonna make sure that brushes nice and soft. I'm gonna put it right near her foot and I'm gonna click one time. Now I'm gonna press the wiki for Move, tool, and I'm gonna squish this down so it looks like a shadow. Now, obviously, if we left it like this, it would look like she's floating in mid air. So we want to put this right under her foot. Press enter. Now I'm gonna drag that shadow behind our ballerina. Let's go ahead and label this dancer and we'll label this contact shadow that is one of the most important shadows because it shows where her foot contacts with the ground Now it's a little bit too dark and a little bit too round. So I'm gonna click on the shadow layer and let's squish it up a little tighter. There we go. I can use the arrow keys on my keyboard to move around. I'm gonna press return to commit those changes and I'm gonna turn the opacity down just a little bit. Now I'm gonna make a new contact shadow, and this one's gonna be a little bit bigger and a little bit lighter. So I'm gonna present be on my keyboard, make sure that black is my foreground color. Gonna make a nice big brush at about 40% capacity. And I'm going to click once gonna press the wiki going to squish my shadow, pull it down a little bit and there we go press enter to commit the changes I'm gonna turn the opacity down just a little bit. There we go. That looks pretty good. Perfect. Now, obviously, in this image there's a ton of light sources, so obviously there would be some shadows on the ground. So we want to put her into the environment and make it look real. Without the shadows. It doesn't look real one bit, So we're gonna add some more shadows in this image. There are lights coming from the back, so there should be some shadows down here in the front, and we're gonna pretend like there's a light source in the front and put some shadows in the back. So how do we do that? I'm gonna duplicate my dancer layer two times. The top layer is going to be the dancer. The middle two layers here are going to become the shadows. If I hold down command and click on one of those layers, it will make a selection of whatever's in that layer. Now, let's go ahead and label these layers back shadow and right there we go. So I'm going to turn off my top layer so we can see what we're gonna do here. We're gonna take this selection of her and instead of keeping the image in it, we're gonna make it pure black. And I'm gonna do that by holding down option and pressing delete. And now this layer is black. I'm going to select this layer and do the same option Delete will fill with the foreground color, which, of course, is black. I'm gonna hit command D to de select our image. Now we have these two black cutouts of our dancer. So the 1st 1 is going to be the back shadow. So with the move tool selected I'm just gonna bring this down just like that press return. Now I'm going to select the front shadow and I'm gonna bring this down about like that. Press enter. Now, if I click on my top layer, you can kind of see what we're going after here to nice shadows. Obviously, the shadows look fake because they are pure black and they are extremely sharp. So we need to fade them a little bit and we need to blur them a little bit. So I'm going to click the top shadow under Blur when Higazy, Ambler and right around 20 pixels press OK, Gonna do the same thing to our front shadow, Gosh and blur. And just to be more organized, I'm gonna press command G and put those shadow layers in a folder or a group. We'll call that shadows. And now I'm gonna turn the opacity down of that folder and you can see the shadows getting lighter And later there we go. That looks pretty good. So now we've got shadows under our dancer. We've got our dancer in place. Things were starting to look pretty good. There are some more things we can do to make her look like she's fitting in the image. And we're gonna talk about that next 11. Ballet 4: our image is starting to look pretty good. There are some things that we can do, though, to make her blend in like she's actually part of that environment. As you take a look at the background, it really has some obnoxious blues that we should not allow into public ever. So what we're gonna do is change the color of the background a little bit to match the purple in her dress. And that's a super easy change. With the background selected, I'm going to select hue and saturation, and then at the top, I'm going to slide the hue slider more to the right. Now look what happens to our image. It becomes more purple now. We only want to affect the background layer. So let's make sure this human saturation layer is right above the background layer. We can adjust the hue so that the purple looks much better. We can also turn down the saturation a little bit. There we go now that looks like a much better background, and she already looks like she's fitting in a little better. So here was before without the change, and here's the after. Now let's do a couple more adjustments. As you look at the background, you notice that there's a lot of light. It's kind of airy and as you look at her, she's got a lot of contrast and it doesn't really match. The contrast from foreground to background doesn't match. So what we need to do is make her a little bit less contrast, and we're going to do that by simply adding a curves adjustment layer. Now. I only want this curves adjustment layer to affect the dancer, not the entire image. So if I make adjustments right now, it's gonna adjust our entire image. So what we need to do is press ault or option, and when you move your hand in between these two layers, you could see that when you press option, it turns into this little arrow and we're creating what's called a clipping mask. The clipping mask, which is defined by this arrow, is telling us that the layer curves one is Onley, affecting the dancer copy. It's it's connected to it. So what we're gonna do in the curves adjustment layer is grab the most bottom point and drag it up and watch what it does to our dancer. It raises the shadows a little bit. If we crank it way up, you can see what it does. But we're just gonna leave it right about there. May be it will raise the mid tones just a little bit. And that looks much better. So here's before and after were just taking out some of the contrast before and after. And you can play with the opacity, make sure that it looks just right. Now I'm gonna do one more thing. I'm gonna add a new blank layer, and I'm going to use my eyedropper tool to sample one of these purples. Now you can see our foreground. Color is the color we just sampled. And with a brush, I'm just gonna tap once over her body. Now that's too much. We're gonna turn the opacity down quite a bit, actually. Now, I only want this purple layer to affect the dancer as well. So I'm gonna press option or Ault and make that a clipping mask as well. So here's before we added the color and curves change, and here is after, so she's starting to blend in very nicely here. Now we need to take some of these light beams and wrap them in front of her. That will really give the effect that she is part of this environment. Now, how will we do that? Well, we're gonna come down to our background layer and I'm gonna make a blank layer above the background layer. And now I'm gonna use the pen tool, the pentacle. Most people fear because it's not exactly the most user friendly tool that photo shop has, but it's actually pretty easy to use. Basically, wherever I click, it's going to make a point. And once I'm done, if I double tap the starting point, it will kind of connect all the dots together and on my keyboard. If I hit command and enter, it will turn that path into a selection. So I'm gonna hit command D to de select, and we're gonna make a new ray of light. So I'm gonna click right here. I'm gonna drag down, and I'm going to bring it to here. I'm gonna click and hold, and that's gonna make allow us to make a curved end because if if this was a light, it would be curved at the tip. Now I want to continue here and go up to my starting point. So I'm gonna press option and click, and it's gonna take away that handle at the end there. Then I just bring it back up to the top, closed the circle. Now I'm gonna press command and enter, and it's going to make a selection out of what we just drew. Now we want this layer actually to be on the very top because we want this to be in front of our dancer. If we put it where we had it, it would be behind our dancer. So let's fill this selection with white. So I'm gonna press d m a keyboard and then X to select white as the foreground color that I'm gonna press option delete. And now we have a nice, bright white beam of light coming down. I'm gonna hit command D to de Select. Now we need to blur this a little bit because it's obviously too sharp. So I'm going to go to Blur and Ghazi Ambler, and I'm gonna try to blur this so that it matches the blur of the other lights in the background. So right about there looks pretty good gonna hit. Okay? And I'm gonna turn the opacity way down. There we go. Now let's make a light ray from this light source up here, so I'm gonna create a new layer with my pen tool. I'm going to start it right in the center of the light and I'm gonna click once I'm gonna drag down. Click once. Right there. Now here. I'm gonna click and hold and drag so that I can Ben the end of the light Ray, that I'm gonna option click that I'm going to click that first dot And now I'm gonna hit command and enter to turn turn my path into a selection. Then I'm going to hit option delete to fill that path with light. I'm going to de select that. Let's go to filter and Ghazi and blur and we'll turn the opacity down on this light to And we could see the first light we made is a little too bright, So we'll also dim that back And there we go. Let's make one more light behind our dancer. So I'm gonna select the shadows layer and then add a new layer so that it's behind our dancer and with the brush tool a fairly large. I am going to just click one time with my mouse, and that's way too much. So let's turn that also way down. And there we go. Now our lights look still a little too bright. Perfect. Now our image is starting to look pretty good. Now, we could go and make more shadows down at the bottom because obviously there would be more than two shadows. So let's just paint in a few shadows. So I'm gonna select the shadows folder and I'll just make a new layer with my brush tool set toe black. And I'm gonna use a fairly small brush and we will set the flow very low, maybe 10% ish. I'm just gonna color in what a shadow might look like. And I'm gonna turn that way down as well. So now our image looks pretty good. We're ready to add some text, press the T tool. We'll make it centered. There we go. We can click styles and select a style press enter press the T tool again and will make this Arctic the top. Those are just the default styles that come with photo shop so you can play with those until your blue in the face. But there we go. There is our ballerina in a new background, and I think we did a pretty good job. 12. Intro to Hockey: in our final section of the class, I'm gonna show you how to take a hockey player, extract him from a gray background and put him into a rather interesting background. Now I shot these kids at a hockey rink. There were kids everywhere. There were skates, parents, little kids running around. It was very a very chaotic scene. But by placing them in front of a solid paper background and you'll notice I put plastic on the bottom so their skates wouldn't cut my paper. It was super easy to extract them and put them in an ice Seen. That looks really nice. I hope you enjoy this final portion of our class. 13. Hockey 1: and welcome back in this class, we're gonna be taking this tough hockey player and we're gonna be putting him into a new background. Now, I can't give you this image because it's an image that I purchased online from a company called Shirk Photography. And Ben Shirk is an awesome photographer. He makes some incredible templates for photographers, basically you by the background and then you put your subject into it, and it's really easy to do. I'm gonna show you how to do that. Doing this gives your images the edge over, you know, a local photographer whose maybe just starting out this is going to make your sports photography look incredible. So we need to first get our image ready for extraction. What I did here was I shot the hockey player on gray paper background and I put two lights one on each side of him toe light toe, highlight the sides of him and that we have a big soft box in the front. The set up is really simple. Um, we shot this at the ice arena, so the lighting there was horrible, so I had to bring my own lights, and it was a basic set up very easy to do now. Once we have our image opened and Photoshopped I'm gonna make him a little brighter by selecting the curves adjustment layer. And I'm just going to give him a little bump in the mid tones like that. And that looks pretty good. We are ready to extract. So I'm gonna flatten my image. I'm going to select the quick selection tool and I'm going to start tracing over him. And it's pretty easy to select when you shoot against Gray. So this isn't bad at all. Okay, Now there are some spots I missed so we can go around and kind of trace over them color in the letters on his jersey. If I press the cuchi, it's going to put us into quick mask mode in quick mask mode. It's an easy way to see what selected and what's not selected. So you can see that I've missed his ears right here, miss part of his hair. Obviously, we don't want this lump selected, so I'm gonna hold down the option key and color that in, and that will de select it. And I can color that in a little better get more of his glove here. If I zoom into 100% I can also see my selection a little bit better. Where you go, I'm gonna hit the Cuchi again and see what I've missed. Obviously, I've missed Hiss number right here, part of his glove. So we'll go ahead and get that. Okay? It's starting to look pretty good. Obviously, we're here. We have these great patches that came through the gut selected. So I'm gonna hold down the option key, make my brush a little bit bigger and make sure those get taken out of there and I'm gonna de select that area. Let's go ahead and de select this center. Great part of his skate. Now, the computers having a hard time picking out what I want Selected him. What? I don't. Because the grey is very close to the white and their textures are very similar. We may be able to go in later and color in these little gray spots a little bit easier using a different tool. In fact, let's do that now. Let's use the instead of the quicks electoral. Let's use the magic wand tool. Let's set the tolerance at five. And let's see what happens when we click in here holding down the option key so that it removes from our selection. The magic wand tool is good for selecting an area of color like we have this little area of gray. It's good at finding areas of matching color. So right now we've got a great selection of the hockey player. All we have left to select is the hockey stick. And I'm actually going to use the pen tool to do that because the pen tool makes it really easy to select straight lines. So I'm just going to click once right here. Bring the line down to here kind of outline the edge of the stick Here. I'm going to click and drag to make that little curve and then option click on that dot so that it removes the handle. Oops. I hit Undo there to remove that. Uh, I'm just gonna come around call were the top, start that again and complete the circle. Then I'm gonna hit make selection, and I'm gonna add this to our selection that we've already selected. Now everything looks pretty good and we can select and mask and what this does is just allows us to look at our selection a few different ways so that we can determine if there's anything we need to fix. So I'm gonna look at it with the onion skin, and I can see right away that I've missed some spots here in his socks. So I'm just gonna hit, be for the brush tool, make my brush a little larger, and then color in where I missed. I missed a spot up here in his shirt, and there we go. That looks pretty good. So the only thing I'm really gonna worry about here is exporting with a layer mask. We want to make sure that we export it with a layer mask, because when we look at it, we want to be able to make changes if we need to. So this looks like it's ready to go on to our background song and hit V for the move tool. Drag it up to our background template and drop it in. There we go. So now in our next video, we're going to blend him into the background a little bit better so that it doesn't look like he's floating in space 14. Hockey 2: okay, We can start to see what our image is gonna look like once the subject is against the new background. Now, what we need to do is go through one more time and check our masking. For example, I could see a little bit of blue right here. Um, we missed part of escaped right here. So what I'm gonna do is he was a soft white brush. And wherever I paint on our layer mask, it is going to bring back the original image. Gonna fix his glove a little bit right here. Where we go now, his head needs a little bit of work. First of all, you can see the great paper in the back of his glasses and his head looks a little bumpy like he's been hit by the puck a few too many times. So let's fix that. Since we've saved our layer mask, all we have to do is select one of the tools that makes this election and then press select and mask, and it's gonna allow us to adjust our layer mask so it will open up like this. And what we want to do is use the refine edge tool to get the gray out of there. So I'm just gonna paint over that. Here we go. It's gone. Now it's touch up his head just a little bit. I'm just going to use the brush tool and gonna use a really small brush. And I'm gonna color over these little parts that didn't make it into our original mask. You can see I went too far right here and right there. So I'm gonna use the refine edge tool again. And just swipe those two areas to make sure we get a good, clean selection. There we go. And actually it fixed itself. All right, let's go back into photo shops. Will hit. Okay, there are Head is still looking a little goofy, so I'm just going to use the brush tool, and I'm gonna turn my flow back up. There we go. Now, you can choose to be as picky or not as picky as you want. Obviously, this will be probably printed by a parent to be five by seven or eight by 10. You know, this isn't a national campaign for the gap or for the National Hockey League, so you can kind of cut corners when needed. The picture still looks great. Now we need to blend him into the image. It looks like he's simply floating on top of the ice. Um, we need to make him blend in just a little bit. Before we do that, I'm just gonna fix this little spot. Have our and r selection. Looks pretty good. Now, in the next video, we're going to blend him into the atmosphere a little better than he is now. 15. Hockey 3: now that our selection and masking is pretty much a done, and I'm pretty happy with how that looks. I'm going to apply this layer mask to the image so that we only have the player now on this layer. We don't have to worry about the mask. All we have is the player neatly cut out from his background. Now we need to make him fit into this atmosphere a little bit better. When you think of ice and cold, the color you think of his blue when you look at his picture, he's nice and warm and toasty. We don't want that. So we need to add some blue to our player to make him look like he's actually out in the cold. This is very easy to do. All we're gonna do is select the color balance adjustment layer and because we Onley want to effect our player layer, I'm gonna hold down the option key in between color balance and the player and click and you'll see that it put this little arrow here. This is called a clipping mask, and this is indicating that the color balance layer is Onley gonna affect the layer that it's attached to so we can do something crazy. Move these sliders all way around and it's only gonna affect our player. So let's put that back a zero. And what do we want to do? We want to add some blue and maybe even at a little bit of Scion. So we'll slide this slider towards blue and you can see that right away our player is cooling down quite a bit. Let's add a little bit of science, See if we like that. Actually, yes, that looks great. Now let's turn it on. So here's before and after before and after. So now our colors air matching a little bit better in the next video, we're gonna take a look at how we can add reflections to make it look like he's standing on ice. 16. Hockey 4: Okay, now that our color looks great on our mask looks great. There are a few things weaken due to blend him into the atmosphere a little bit better. And one of those is making reflections of his skates and the stick on the ice. This is pretty easy to dio. I'm gonna take the layer with the player hit command J and that will duplicate the layer that'll hit command T for transform. And I'm going to control click this little corner here and hit Flip Vertical. So now it's going to turn that layer upside down. And this is what our reflection is going to be made from now. First, we're going to start with the skate that is closest to us, and I'm just gonna line those up just like that. I can use my arrow keys to nudge it around if need be. No, I'm going to click enter to commit the changes. I'm gonna click on the mask icon and I'm gonna make a Grady int mask so that it looks like that the reflection is fading away the further it gets from the person. So using the great Aunt Mask, I press g on my keyboard and it says black toe white. So I'm gonna start at the top of the reflection, holding the shift key down so that my grade Ian is straight. And I'm just gonna drag down to about right there. Now, on that layer, I'm going to reduce the opacity so that it looks like a reflection. Now, let's do the same thing for his other foot. So I'm back on my main player layer, gonna hit command J and command tea for free transform and then control Click and I'm gonna flip it vertically and I'm gonna bring it down like this and match up that foot. I'm gonna rotate it a little bit so that it looks like hiss toe is touching the ice wherever the reflection touches Theory journal subject. That's where it will look like it's touching the ground. So maybe we'll make it look like his heel is up in the air. There we go now. Gonna hit enter Gonna add a layer mask Hit G for the Grady int tool. I'm going to do the same thing we did before. I'm going to start at the contact point with my greedy int tool and paint just like that And make that a little reflection. Now I'm gonna turn the opacity down. Obviously, we have a foot sticking up. We need to erase. So with a black brush, I'm gonna be on the keyboard than X to change my colors. Let's make this brush a little bigger. We're gonna color away that odd foot sticking up, and I'm also going to reduce the opacity a little more. I also need to color out that hockey stick that was in the way. And there we go. Maybe down just a little bit more perfect. So let's do it one more time for the hockey stick. I'm going to select the players layer hit Command J and select my move Tool Command T for transform Going to control, Click right on the edge there and do a flip vertical. And let's bring down the hockey stick reflection. Now. If we wanted to look like it's touching the ice, we could make the reflection touch the stick. If you want to make it look like it's a little bit off the ground, you could just pull the reflection away from the stick. So let's leave. It may be right about there gonna add a layer mask, G for the Grady int tool, and I'm going to paint from bottom to top. And there's our reflection. I'm gonna turn that way down. Now again, we have extra feet sticking out here. So I'm just going to use a big black brush, make it a hard brush, and to race that away, I'm gonna press V for the move tool. And one of the layers in this template is the puck. So I'm going to grab the puck. Here we go and put it right there. Now, obviously, the stick here is on top of the puck. We need to make the puck layer on top of the stick, so I'm just gonna drag that all the way to the top. So that finishes up our image. Let's take a look at before and after, before and after. I really hope you've enjoyed this class. I would look forward to seeing what you can do with this technique. If you have any questions, I'm happy to help