Mastering Selections in Adobe Photoshop CC for 2021 and Beyond | Greg Radcliffe | Skillshare

Mastering Selections in Adobe Photoshop CC for 2021 and Beyond

Greg Radcliffe, Photographer | Designer | Entrepreneur

Mastering Selections in Adobe Photoshop CC for 2021 and Beyond

Greg Radcliffe, Photographer | Designer | Entrepreneur

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29 Lessons (3h 38m)
    • 1. Course Introduction

    • 2. Why are selections so important?

    • 3. Customizing your Workspace and Toolbar

    • 4. Mastering Selection Basics

    • 5. Super Helpful Shorcut/Modifier Keys

    • 6. Challenge Exercise: Selecting Basic Shapes

    • 7. Challenge Solution: Selecting Basic Shapes

    • 8. Working with & Modifying Active Selections

    • 9. The Lasso tools

    • 10. The Pen tools

    • 11. Challenge Exercise: Car Cutout

    • 12. Challenge Solution: Car Cutout

    • 13. Understanding how Masking, Channels, and Selections are all Related

    • 14. The Magic of Feathering

    • 15. The Importance of Brush Hardness

    • 16. Review of Quick Mask Mode

    • 17. AI with Object Selection and Select Subject

    • 18. Don't Forget about Blending Modes

    • 19. Selections by Color Part 1

    • 20. Selections by Color Part 2

    • 21. Challenge Exercise: Car Color Challenge

    • 22. Challenge Solution: Car Color Challenge

    • 23. Select and Mask for Complex Selections

    • 24. New Select and Mask Improvements

    • 25. Making Selections using Channels

    • 26. The New Select and Replace Sky Options

    • 27. The Minimum Filter Edge Cleanup Trick

    • 28. Challenge Exercise: Select and Mask

    • 29. Challenge Solution: Select and Mask

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About This Class

Whether you're a photographer, a designer, or simply someone who uses Photoshop for fun, mastering selections is an essential skill that can help you take your work to the next level and that's exactly the skill I'm going to help you master in this course. 

My name is Greg and I have been using Photoshop professionally for over 2 decades -- both as a designer and a photographer -- but, also just for fun because it's a program I love so much. That love comes from years and years of playing around in Photoshop, from exploring the myriad of tools, and from continuing searching for the best ways to do things, and from continuing to learn as the program has evolved.

Whether you are relatively new to Photoshop or someone who has a fair amount of experience, in this course, I want to help you take your skillset to the next level by helping you become a master of selections. 

We'll start by going over selection basics, but then we will continue to expand upon your knowledge by teaching all the different tools at your disposal, by teaching you crucial time-saving tricks, and demystifying subjects like masks and channels, and helping you see you how they are actually perfectly aligned with selections.

Along the way, I'll provide some challenge exercises so you can test your skills as they grow, and I'm never more than a few keystrokes away if you have any questions -- I love answering questions about Photoshop!

We're in this together, let's start building the skills that will help you take your work to the next level.

All the best,

Meet Your Teacher

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Greg Radcliffe

Photographer | Designer | Entrepreneur


Hi, my name is Greg. I have spent the last 2 decades of my professional career as a designer, a photographer, a programmer, a blogger, and an entrepreneur. I'm also a husband and a father of 3 so I have a great appreciation for everyone seeking to find the right work/life balance. That's one of the reasons I'm so passionate about teaching others not just the software skills that will drive their professional lives forward, but also the smart workflow approaches that will give them back time.


My main areas of focus are design and photography, but I also love programming, database design, and pretty much anything related to entrepreneur life.


I look forward to sharing with you my knowledge of (and passion for) software. My goal is to not... See full profile

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1. Course Introduction: Hi, this is Greg and welcome to my course on mastering selections in Photoshop CC for 2021 and beyond. Photoshop is a program I love in it's a program I've been using both personally and professionally for over 20 years. From everything from web and graphic design to photo retouching, creating graphics animations and custom artwork. And from that, I can tell you that one skill that is really fundamental to becoming a master and Photoshop is the ability to make selections. And that's what this course is going to be all about. Mastering selections and Photoshop will start with the basics and some of the fundamental skills and knowledge that are going to empower you and save you time. And from there we'll build up to more advanced tools like the pen tool, and more advanced selection skills like making selections based on channels, making selections based on colors, and using smart tools like the select amass tool for complicated selections will even cover all the latest and greatest selection related additions to Photoshop. I really want anyone that takes this course to really and come away with the knowledge that empowers them and helps them take their Photoshop skill set to the next level. So that when they sit down and they work in Photoshop, they can experience the joy that I experience on a daily basis. It really is an amazing program, but there's always lots to learn, to jump in this course and we'll learn together if you have any questions along the way, I love answering Photoshop questions, so don't be shy to send along your questions. And I'll be happy to help in any way I can. Thanks for watching and I really hope to see you in this course. 2. Why are selections so important?: Selections are at the heart of Photoshop. Because of selection allows you to select and target just a portion of your image. And then when you carry out your next command, your next action, you are only going to affect that portion of your image. Now as if you want to advance the Photoshop, if you want to get really good at Photoshop, mastering selections is really going to be a crucial part of that. So let's just go over an example selection. I'm gonna take a very simple tool here, the rectangular marquee tool. And I'm gonna use that to drag out a selection around this bird here. And whenever you make a selection in Photoshop, You're going to see what they call these marching ants here, basically this animated dashed line. And that just shows you the area on screen which is selected. So now if I go to carry out a command, now I'll just bring up a simple Levels Adjustment command. So I'll bring up a Levels adjustment dialogue box near here. And as I drag out this Levels Adjustment, if I make my dark sort of darker here, I could take my midpoint here and make my midpoints brighter or darker as I make that, you'll notice that any adjustments I make here, there only affecting that selected area of my image. They are not affecting other areas of my image. So when you get into imagery touching, when you get into compositing images, you really, really have to master the art of making selections. Now there are lots and lots of tools for making selections and Photoshop. It can be a little overwhelming at first, the good news is, it's really not that hard and it just takes a little bit of practice. We're gonna take it step by step in this course. I'm really going to get you to a point where you really are a master of selections. And that's just gonna make so much more possible in Photoshop. So let's get started. Let's master elections and Photoshop. 3. Customizing your Workspace and Toolbar: Before we go any farther, I just want to say a really quick word about your toolbar. And you're sort of layout here inside of Photoshop because your workspace, what you're seeing on screen might be different from what I'm seeing. Because Photoshop has lots and lots of windows and panels you can have open. And what I have opened might be different than what you have opened. So your layout, how things are laid out here in terms of your toolbars and stuff, that's called your workspace. And so if you go up under window and then you go to workspace, you have some sort of default. Workspace is you can begin with. So Essentials default is this probably helped, Photoshop becomes loaded like this. But then if you go under view and then you, excuse me, if you go under window and you see all these little things you can turn on and off here. So for example, here's my channels pallet. So if I turn that on, I can bring my channel is pallet up here, my channels menu. And I can turn that on and off. And I can also move that. I can dock it over here in a different spot. I can bring it out. I can dock it up here for i one. So you can click and drag different windows and you can dock them different places. For example, here's my toolbar over to the left. I could bring it and I could dock it over here if I wanted to wait until I see something blue like that show up. But I think I'll bring it back to the left here. And if you ever get lost in this gets sort of messed up. You can always return to one of these default workspaces. So for example, they have different workspaces for what type of work you tend to do. So if you're, if you do mostly editing photography and things like that, you might want to start with this default photography workspace. This is usually the workspace I work in, especially when editing photographs. But also sometimes you may want to customize your workspace. So if you want to make workspace customizations, you can turn on different windows, other windows and dock them wherever you want. And then you can just go under window workspace. You can select a new workspace and you can name that workspace. You can have it save any custom menus are keyboard shortcuts, toolbars, things like that. And it will also save wherever you have, whatever windows you have open and where their doctor. So that can be very helpful if you start to develop your own sort of workspace and way you'd like to have things laid out because we all work differently. And so what works for me might not be what works for you. You may have different tools that you use more often than I do. So feel free to customize your workspace. Now, let me talk very briefly about this toolbar, since we'll be getting into some of these selection tools in the course, this is sorted by default how they're laid out here under the photography workspace. And so it has all the tools down here. And then if you go to the very bottom, there are some hidden tools right here. If I'm able to click on that, there, let's see. There it goes. It'll fly out and it'll show you all of these other tools that might not be docked up here. They might be hidden under here, but you can at any time go to this Edit toolbar option. And what that's gonna do is it's gonna bring up sort of a visual representation of how your, your tools are currently laid out in the toolbar. So you'll notice that I have the Move tool up here. And then below it I have my rectangular marquee where you can see that's the way it is here. But if I wanted to change that, for example, if I wanted to take my rectangular marquee tool and drag it up here, I could do that and I can group it in with these tools, right? I'm not going to do that. So I'll bring it down here. But so you can, you can drag and rearrange things like this. You can put them in their own menu item. You see right there, I just separated those out into 22 different sections. I want to put them back together, so I'll bring that back together here. For some reason I wanted my move tools to be below. I could wait until I get the sort of blue around this whole box and I could drag it down. So these are all drag-and-drop menus or you can move around what tools are located, where you can find tools that currently aren't added in somewhere. And you could bring him over and you can add them in. So I could add in a tool there. So you can customize your workspace any way you want and feel free to do so. So by default, if I'm talking about a tool and you can't find it, just look around, make sure it's not hidden under here. And then you'll be able to find that tool. And then you'll be able to work along with the activities we're doing in this course. And then if you make some changes to your tool, your toolbar, you may want to save that as a tool preset so that you can always bring back that toolbar and you'll even be able to load it on a different computer if you really have a setup that you like. So to do that, once you make some changes here, you would just go ahead and choose Save Preset. And then it's gonna let you save a custom toolbar somewhere. So you see I have this Greg's customs toolbar firewall right here. So this is the file that I would use if I was on another computer, I will just have the point to this and load this in. And then I would have my new tool layout. So I'm just gonna hit cancel right now. But if I had saved on, you could just go load preset. And again, I would be finding this on. I would load that custom toolbar and I would have that New Toolbox toolbar layout. Okay. So I'm I'll let you guys figure it out from here. I didn't want to say too much about it because you'll figure it out. But I did want to point out that your workspace, you can really customize it any way you want. So spend a little time as you get to know Photoshop. As you get more and more into Photoshop, you'll figure out what windows you like to have open, what tool panels you like to have open, how you'd like to have tools grouped here, and then you can really customize it. So photoshop works better for you and works more efficiently for you. All right, that's all I'm gonna say and I'll see you in the next lesson. 4. Mastering Selection Basics: Let's start by just going over some selection basics. Alright, so I'm gonna come up here and under this menu here, second menu down here by default, in my photography workspace, I have this rectangular marquee tool. And if I click the little bottom arrow, whenever you see that bottom arrow is going to be a fly out, you're going to have more tools under that menu. And you also sometimes we'll notice that you have keyboard shortcuts. The, these have a keyboard shortcut of M. So if I go to a different tool, if I were to tap em, it's gonna bring me back to those tools. So that's a keyboard shortcut, is to jump to that tool quickly. And then if you have multiple tools like let me go under there again, you can see how you have to tools with the keyboard shortcut of M. Well, if that's the case, if you use the Shift modifier while you hit the keyboard shortcut, then it's gonna cycle through those tools. So you see I'm going here between my rectangular in my Elliptical Marquee, but I'll just start on my Elliptical Marquee. And let's talk about how you create a selection with a tool like this. So what you wanna do is you just want to left-click on your mouse button and you're just going to left-click and drag out. Now if you had a pen torn a Wacom tablet, you would just be clicking on a surface with your pen and dragging out. So you'd just be touching on the surface of your tablet and dragging out. But if you're working with a mouse, it's just a left-click and you're holding down that mouse button as you drag out. Now a few helpful things here. As you drag out, you're free to resize this any way you want. So this still is unlocked, its still active. You can still move this around. Now as soon as I release my mouse button, then my Selection sort of locks there. Then I have a selection on screen. And you know, you have a selection because you have these, this dashed line. People call these the marching ants because it sort of looks like an army of marching ants. But that is your selection on screen. Now anytime you have a selection like this, if you want to get rid of that selection, you could come up here and choose, select or deselect, but easy keyboard shortcut is just Control or Command D. So I'll hit control D since I'm on a PC, that would be Command D on the Mac, and I can just get rid of that selection. Now, let's create another selection. And this time I'm gonna show you a couple tricks when you're dragging out. Whenever you have the Elliptical Marquee or the rectangular marquee like this. And you want to constrain the proportions to a one-to-one ratio as you're dragging out. If i just, as I'm dragging out, hold down the Shift key. Now look, I can only create a square because when you hold down shift, it's going to lock it to a one-to-one ratio. And now I can create a perfect square. Now if I were to have my Elliptical Marquee seems sort of thing. If I'm dragging down and hold down the shift that I'm making a perfect circle. Circle. If I release shift, then suddenly I can draw out any sort of proportions I want with that. So that works with the Elliptical Marquee. And it works with this. It works with Elliptical Marquee and also works with the rectangular marquee. So another helpful tip as you're dragging out here, if you decide you want to move where your selection was on screen, you can just hold down the spacebar. Now all these things I've talked about so far, the Shift key, the spacebar, you're doing that as you continue to hold down the mouse button. So you have your left mouse button held down and now you also have your Space-bar held down and you can move this around. And then whenever I release my mouse button, it's going to lock that and that is locked on screen, so called, those are a couple of helpful things. Uh, when you drag out a selection, these modifier keys are going to be very helpful. Now, let me talk very briefly about this Options bar up here. You're gonna see in Options bar like this for any tool you select and Photoshop. So when you have a selection tool, open and Photoshop. You're gonna see this soil peer. Now I'm not going to always go hover all the options that you have up there. But we're gonna work through some of them and just know it's here and that you can experiment around with the different options up here. But so let me just take my Elliptical Marquee. And I'm gonna take this anti alias. And I'm going to turn that on and I'm gonna drag wild. And I think it's best shown by example. So I'll go ahead and fill that with my background color on my foreground color I should say, which is black. And I'll go ahead and drag another one. But first I'll turn that off and then I'll drag another one here, and then I'll fill it with black also. Now you may not notice a difference, but if we zoom in really close and we start to look at the edge of this, you'll start to notice how this one stays pretty smooth and it's sort of blurs and blends at the edge. And then if we come up with this other one, you should be able to see maybe a little harder as recorded CL inside of the Jag at h here, clear pixels, jagged edge. And then this one over here sort of has some semi-transparent pixels and it just helps blur it together. So for this anti alias thing, I think usually you're just gonna wanna leave that checked on and it's going to usually be on by default, by default. But just know that that is an option up here. If you ever start to get those jagged edges, just make sure you have that turned on. Alright, so we won't go into that, into that in any detail. But let me go ahead and I'm gonna go ahead and just do Alt Control backspace, I should say let me hit D actually to redo my foreground background colors. So default and then I'll do all backspace, control backspace, sorry about that just to get back to a white screen. So back to selection tools. Now, I'm gonna go back to my selection tool again and I'll just pull up the rectangular marquee now. So up here on the options ball, or also you have these options here. So this one here says new selection. And in the other ones here or add to selection, subtract from selection and intersect with selection. So I'm gonna tell you about these and I'm going to tell you why. I almost never checked check them on up here. They're super important, but I almost never check them on up here. And that's because of modifier keys again. So I'm gonna go ahead and with new selection, have new selection set as the option and it should be the default option than anytime you click drag, you're going to have a selection on screen. But then if you click drag again, it's going to do a new selection. So in other words, it gets rid of that old selection. It creates a new selection. Well, you can probably guess what's going to happen if I come up here and I change this to add to selection, then suddenly you see that plus icon by your cursor and then you're adding to selection. So this is really cool because now you can make these compounds shapes and you can really start to build on those basic shapes and come up with some cool things. But so you have the same option, he up here for a minus. And you have the same option here, up here were for Intersect. And intersect is sort of takes the overlapping area of those two where they intersect. And then that becomes a new selection. So I say I almost never use these. I never turn these on up here, not to say never used them, I never turn them on. And here's why. If by default you just keep it on new selection, you can still easily access all these options just by using simple modifier keys. So if I have a selection on screen and I hold down shift, then suddenly you see I'll get that plus. And then suddenly I'm adding to my selection. If you hold down Alter option, you see how it turns to a minus, then suddenly I'm subtracting from my selection. If I hold down shift and altogether, or shifts in option if you're on a Mac and then it's going to show an X. And then suddenly you're doing the intersect option. So all these options right up here, you can, you can check them on up here if you want to in the Options bar. But you can also just very easily use that Shift Option key as you're dragging out. Use that Alt Option key as you're dragging out, or you can know them together and do that intersection. So that's my preferred method because then I can just leave it set up here to new selection. And I can use those modifier keys and they're super helpful and they do save you time. But one thing to point out about modifier keys, we mentioned those before when you are actually dragging out to selection and there's no selection on screen, then you're using shifts in a different way right now I can use shifts to modify an unlocked the proportion to one-to-one. So just keep in mind that those modifier keys can behave differently based on what you're doing or what's on the screen. Let me just give another quick example. I'm going to drag down a ruler and pull out a ruler from this side. And you can click on your rulers on the side and drag out guides. I say drag down a ruler. I meant to say dragged down a guide. So I dragged out two guys. I just want to show you by default, when you drag out a selection, it's going to sort of form this selection from the corner outward. So if I click right here sort of where these guides meat, it's going to drag out that selection from the corner. Okay, I'll hit control D to Deselect. However, if I have no selection on screen and I hold down the Alt modifier key, which we know that's going to affect my select area if I have a selection on screen, but when I have no selection, then why hold down the Alt modifier with no selection on screen, I can draw a selection that starts from the center outward. So you see how by default, if you drag out a selection, it's going to form a sort of from the edge outward. But if you don't have a selection and you hold down the Alt or Option modifier, then suddenly you are forming it from the center outward. Which can be helpful, but just bear in mind once you have that selection on screen, then suddenly that Alt modifier acting to subtract from your selection. So these are really good modifier keys to know in super, super-helpful. Just bear in mind that they do work slightly different in slightly different situations. So you may have to practice just a little bit to get comfortable with them. And if you're not comfortable with them, you always have these options up here and tell you sort of get started to get comfortable with them. We feather option up here in the Options bar I'm going to talk about more later, so I'm not gonna talk about that right now. I'll briefly mentioned here under style for the rectangular marquee and some of these other tools, you're gonna have something like Ratio and fixed size. So in other words, I can come in a ratio and I could say, I always want the width of my selection lateral ought to be three times larger than the height, so 321. And then when I draw out, it locks those proportions so I can only draw out something in those proportions. So that can be helpful based on what you're doing similarly, so you also have the fixed size up here. So if you choose fixed size, you're actually giving the exact size you want your final rectangle to be. So for example, if I were to choose just say 100 by 400, then it's going to make exactly a 100 by 400 pixel rectangle. Type 100 again, so 100 by 400, and so 100 by 400 Anywhere I click on screen, it's going to form a 100 by 400 pixel pixel rectangles. So that can be very helpful based on your project. Maybe you're doing something where you need something at a specific size. And so you have these options. So I think we've covered basically the basics of selection. We've also talked about some modifier keys that are very helpful. And also just stay aware that you do have this Options bar appear anytime you're working with a different tool inside of Photoshop. 5. Super Helpful Shorcut/Modifier Keys: Let's talk about some of the keyboard shortcuts that can make your life a lot easier when making selections. And then also some of the other ways you can refine your selection once you've made a selection. So again, I'll just start with the rectangular, rectangular marquee here. And remember you click and hold and then you drag out while I'm holding here, I can resize this anyway. I want I can make it longer horizontally, longer vertically like that. But as soon as I let go and release, then it's locked in and it's an active selection. And that selection is sort of locked, right? So then I'll hit control D to Deselect. Let me just do that again. Now what I'm dragging out, let me show you a couple of things you can do. First of all, if you use the Shift key, the shift key is going to constrain the proportions of your selection to that one-to-one ratio. So when you have the rectangular, rectangular marquee, you're going to be able to create a perfect square. Now that's if you're holding down the Shift key. If I release the shift key, now suddenly I can again change the proportions of this. And so this whole time is I have my mouse button, my left mouse button down. And I can just add in the Shift key. If I want to constrain that, I can let go of the shift key. And then again, soon as I release it, locks it into place. Now that Shift key works with other tools as well. So if I have my Elliptical Marquee here, obviously it can create these ellipses, but if I hold down the Shift key, then again, I'm constraining the proportions and I am making a perfect circle. So that is the shift key modifier. That's very helpful. So the other thing you may notice is when I'm dragging out here as soon as I lock it, sort of locked the position on screen. However, if you've started your selection before you release that mouse button, if you don't have it quite where you want, you can hold down the spacebar. And then what that allows you to do is then you can't on the fly, move this around the screen and then I can release the spacebar, but I still haven't locked my selection. I can still make changes to it. So I'm still in a selection that isn't quite locked yet. I'm still in the act of making the selection, but I can hold the space bar and I can move it around the screen. So Shift key to constrain the proportion. So I can do shift and then on the fly I can also hold down the spacebar and move it around the screen. So those are both very helpful modifier keys. Okay, I'm gonna go ahead and hit control D again to delete that it's easy way to delete a selection. You can also go under selection here and you could go de-select under here if you had something selected, but Control D, or they'll be Command D on a Mac. That's very helpful. Shortcut key just to undo a selection. If you have a selection that's active and you sort of wanna turn off those marching ants turn off that selection. Let me show you one more thing because we talked about how the spacebar can be helpful when positioning things. It's also helpful just to know how your selection is being formed. So I'm, I'm dragging out a couple of guides here. And you can manually add guides to any document by going under View. New guide. And then it'll ask you where you want to put the guide. And you can use inches, you can use pixels. You can also put a percentage in here, but you can also just if you have your rollers active, you can just come and drag out directly a guide like that. So all you have to do is go over the roller and then click and drag it out. It will let you drag out a guide. Now if you're not hitting, seeing your rulers, you can just hit Control or Command or on your keyboard that will show hide your rulers like that. And of course, you can also go to this menu up here where you go view show, and then you can turn off, turn off all these different things. So rulers is going to be on here somewhere. I am not seeing rulers were, where's rulers? Maybe rulers has it's own thing out here. Yes, so rulers. Under the showMenu would actually has its own menu item right here. But you can see controller command or turn off, turn on your rulers, and then you can drag out these guides. So getting back on track, you know, the reason why I'm showing you these guides is because it's helpful to know when you're dragging out a selection like this. Let me go back to the marquee tool. If I start right here in the center of the screen, if I click and drag out from here, it's gonna drag out my selection from that corner, right? So I'm starting in the center and then I'm dragging out, and it's sort of forming that selection based on where I start, that is the edge and I'm dragging out from that edge. However, let me hit control D. If I wanted this to be the center of my selection, I could click in as I click and drag it out before I do, if I hold down the Alt key, that's the alt key on a PC, this would be the Option key on the Mac. And then if you drag it out, it's sort of forms your selection from the center outward. So now wherever you start your click is going to be the center point of your selection. So that's very helpful to know just because it's going to help you position your selections a little better. You may know the edge where you want to start or you may have an area we want to be the center of selection. So new that Alt Option modifier key. Now I will point out that sometimes modifier keys can act differently based on what's going on on the screen. So I'll show you what I mean in a second. But first, let me show you one other thing. So we have this selection here, and whenever you have any tool highlighted over here, you have this Options bar on the top of your screen. And this is going to change based on what tool selected. So for example, if I go to the Crop tool, we see how this changes completely. If I go to the Select tool, you see how this changes. And then when I go to the actually it's the Move tool, you see how that change. And then back to the selection tool. You have different options. So you have options up here based on which tool selected. So these are the options for the selection tool. Now, for important options right here are this one here. Let you know, let me hover over this in tooltip should come up. It's not coming up. Let me just try again if I see if I get this tooltip. So there we go. New selection, add to selection, subtract from selection, intersect from selection. So by default, new selection is what selected anytime I click and drag, even if there's already a selection on screen, it's just gonna go ahead and it's going to create a new selection. However, these other ones are pretty intuitive. If you come to add to selection, you highlight that. Now every time you drag out, you're actually adding to the current selection on screen. So that's pretty cool because now you can make much more complex shapes. And then of course, subtract from selection. Then you'll see that minus and suddenly you're subtracting from your current selection. And of course, you can use this while mixing up your tool. So if I went down here to the something like the elliptical art tool, Elliptical Marquee tool. Then I tracked actually see what happened there when I went to the Elliptical Marquee by default if reset this. So let me just hit Control Z one time to get that selection back. Now you can see if I wanted to subtract. And suddenly I'm subtracting, but I'm using this elliptical tool as I subtract, you can do other tools as well. So here's the lasso tool. I can just draw out any shape I want. So let me do that. Same thing happened. This resets itself. And so then I could come up here and I could subtract. So I'll subtract based on my own selection here. And I could cut that out now. And then the last one here is the intersection. So if you have intersection, then it's gonna take any area where your selection that you draw out overlaps, intersects, then that's going to be the part that is kept in all the parts that do not intersect will be lost. So if I drag this out, It's only going to keep this little top portion here that intersects and that's gonna come become my new selection. So all these can be helpful, but let me show you a reason why I never use these. Well, I should say that I never click these. I always have this set on new selection. And you can see the way it was a little frustrating when this would reset to new selection anyways, well, you don't need to worry about that. It comes down to those keyboard shortcut, these modifier keys that are gonna make your life a lot easier. So let me show you that right now. I'm gonna hit control D to reselect. Let me just drag out a selection on screen real quick. So I'll just go back to my rectangular marquee. Now remember, I said, if you drag out from a point by default, it's going to drag out from that edge. I'll go ahead and reset this to new selection up here. So again, it's dragging out from here. But if before I were to do that, I showed you, let me delete this selection. If I dragged out from the center using the Alt Option, I can drag out from the center and have where I start be the center point of my selection. However, if I wanted to do that like right here now, if I tried to hold down the ALT key, because I already have something on screen, you see that minus icon show up by my sort of cross hairs there. And now it's not working the way I think it's dragging out from the edge. It's not dragging out from the center. And that's because as you hold down that all key, you see up here how I hold down the Alt key. And this shifts when I hold down the Alt key, it shifts to this here. And so if this is just my point that sometimes modifier keys are going to change based on what's going on on the screen. So if you had don't have an existing selection, then the Alt modifier key allows you to draw a selection from the center out. However, if you do have a selection, then that alt key instead changes it to where you're switching from new selection to subtract from selection. And now you are subtracting from your selection. So that's just something to know. And this actually gets to the point why I never click on these, because this is very helpful. So now I can just have it settle New selections. If I want to subtract something, I don't have to go up you're off to do is hold down my alter option modifier and I'm subtracting. If I want to add to selection, you can use the shift key on your keyboard and then you're adding to that selection. If you want to intersect this last option, all you have to do is hold down shift in altogether, or that would be shift option on a Mac. And then you're getting the intersection. All these options up here are easily available just by using the keyboard shortcuts the shift key, and then the altar Option key. And then in combination, if you wanna do that, intersect. So remember that you can just leave it all new selection and then you can easily on the fly, make all these modifications, right? And then if you do want to do something from the center outward, then it would be helpful to not have a selection yet. And then that all keys gonna work slightly differently and you're dragging from the center outward. Ok, so these are all modifiers that make your life easier. These keyboard shortcuts, it just takes a little practice to learn them. You do have this menu up here if you need this, this Options bar, if you need it. But remember, these keyboard shortcuts are going to save you time. So now let me talk one other way. You can modify selections here. So once I have this selection on screen, and I'm just gonna go ahead and fill this selection. So this will be a little bit more obvious. So I'll do control backspace to fill with my background color. So another keyboard shortcut. You could also go Edit and go to your fill menu. But so once I have that, you can see that my selection is right around the black color there because I just filled this. However, if I come up under the Select menu and I go to modify, and then I can do things like I can expand and expand by certain number of pixels. So we wanted to make this 20 pixels wider. I could do that. I could go under Select, I could go modify. And then I could do things like contract that selection. And maybe I want to make it smaller. So I'm gonna make it smaller by 20 pixels. It'll bring that selection back in. So you have that. Now there are some other options here under Modify, which I'm not going to get into just yet. And then also there are other options under here. Like you have the options of select and mass, and you have transformed selection. We're gonna get into those a little farther as we go along here. But for now I just want you to know these modifier keys. So I'm going to review them all very quickly. So as I'm dragging out here, I can drag it out. I can hold the space bar down as I'm dragging out to move it around the screen, I can hold down the Shift key to constrain the poor proportions to one to one. And then also remember, if it's a selection that I'm dragging out, i am by default starting in the corner where I click and that's going to be the corner point or my selection. So again, I can drag out either way, but that corner point stays the same. However, if I don't have selection on screen, I can use the altar Option key and then I'm dragging from the center outward, I can still use that Shift key. I can still decide to move it with the spacebar keyboard shortcut. So you have all these options. And then if you do have a selection on the screen, remember, you have these options up here which you can easily get to buy a keyboard shortcuts, again, shift key let you add and you will see that little plus icon letting you know you're adding to your selection. If you want to get rid of something from your selection again, you go to alter option. You'll see that little minus icon lets you know you're getting rid of something. And then if you hold down Shift and Alt or Shift and option together, you'll see that X icon will lead to let you know you're going to use this to find the intersection of your two selections, and that is going to become your new selection. Okay, so I hope these keyboard modifiers are helpful. They really can save you time and they let you take these simple selection tools and really start to make some more refined complex shapes. Alright, I hope you enjoyed that. Hope you learned something. 6. Challenge Exercise: Selecting Basic Shapes: Okay, I've created a little challenge exercise for you. And this is just to help you get comfortable with all those modifier keys we talked about in the last lesson. So if you're getting, if you're new in Photoshop and you're getting used to all these modifier keys and making selections. This will be a good basic exercise to help you practice, but feel free to just practice on your own, of course too, and just learn by doing to get the photos associated with the challenge exercises. Just come over here under the project and Resources tab within this course. And then underneath here you can download this challenge file, ZIP file. You're going to want to open this. And then within the challenge files directory, you'll find all the photos that are associated with this challenge. So you can use these files for the challenge. And then if you do want to show your results, you can use this create project button and you can upload your results as a JPEG file. But so all I want you to do here is I've created this little image here which is in your course download. So you can pull this up on screen at all you're gonna do is the gray shapes on-screen. I want you to see if you can create selections around each of the gray shapes. So it'll be a selecting an ellipse here, a circle here. And then this one here obviously is, can be a rectangle, but there's a rectangle cutout from it, and then a much more complicated shape down here. Now the only thing that you can use, I know there are other tools you could cheat and you could use a more complex selection tool to make the selection. But I want you to only use this rectangular, rectangular marquee and the Elliptical Marquee. Just try using just these tools along with those keyboard modifier, keyboard shortcuts that we talked about to make the selections. Now once you make a selection around the shape, that's really the whole idea of the challenge. You don't have to do anything with it if you want to cut it out to another layer, that's fine. Or you could fill it with a color. You don't have to do that. But the idea is I just want you to see if you can make selections around the, the shapes. 7. Challenge Solution: Selecting Basic Shapes: Okay, so I'm just going to show you how I would do this challenge. So I'm just going to grab my elliptical marked key here for this first one and I'm sort of dragging out the rough shape now I'm going to need to use that space bar keyboard shortcuts of them holding down my mouse button and holding down my space bar. Then I can move this on the fly, get it to where I want, and then I can go ahead and release it. Now you don't have to do anything but just for fun, I'll come in here and I'll fill this with a color so you get a color Alt backspace filled with a color. Now I may not get these perfect, but I'm going to try to do my best job here to get these selected as well as I can. And this one here just looks like a circle. And so I know if I start at the center of the circle and I used that alter option modifier before I click with my mouse button, then I can drag it out from the center. And if I combine that with the shift modifier, now I'm dragging out from the centre of circle and I can almost get it perfectly, but I still could use my spacebar if I just need to move it around a little bit, something like that. And so there again, I've made my selection, I just lost it, but it controls the there it is. And then again, I'll just fill with Backspace just for fun. I'm going to color him in. This one here. Looks like I need to switch over to my rectangular marquee tool, all sorted the corner because remember by default it will drag out from the corner. So I'll just drag out, get that first basic shape right about there. And now remember those modifier keys. So I need to get rid of something now. So I'm going to have an active selection. I'll use that alter option modifier till I see that minus again finding that corner where my selection is going to start. And I'm going to drag out from there, get the ear I wanna get rid of. Then I'll release. And then again, I'll do that Alt backspace to fill that with a color. This one here, this one is going to be more complicated of course, but you just have to break it down into simple parts. So I'll start by going to this corner. Dragging out at first this big basic rectangle shape. Tried to get it lined up at both the side in the bottom. Again, if I mess up, I can do this again and again. Doesn't need to be perfect for the purposes of challenge the I overshot that a little bit, but I'm not going to worry about that for this challenge. But of course if I wanted to, well, I will worry about it. I'm going to worry about it. I'll just use my alt to come in here and sort of get this, nudge it over a little bit there just to get rid of that. They're See now I feel better. I was bothering me. Ok. But again, you don't have to get it perfect for this challenge. It's just about practicing having fun. So one of the great things about Photoshop is you just learn by having fun. So I'm gonna come in here and now I will click the shift modifier so I can add to my selection, use my spacebar if I don't have it quite where I want, move it around a little bit right about there. I want to add all of this to my selection. So I'll release, again, I want to add something else to my selection. So here again, I'm just using it spacebar whenever I need a nudge something and move something a little bit and then I can move it around on add that, so I'll release that. So I think that covers what I need to add there. Now I'm gonna go and I'm a grandmother switch. Well, I need to subtract right here. So this rectangle I need to subtract. So now I'll switch over to my alt option modifier, started this upper corner spacebar to nudge it over slightly, right about there. I'll come down. Boom. I overshot it slightly, but that's okay because again, if I want to add something back in now, I'll add back in. And again, you don't have to try to be as perfect as I'm trying to be here and I didn't get a perfectly there, but I'm going to leave that one. I'll let that one go. I'll prove that I can let that one go. Alright, so here we go up to this Elliptical Marquee here. Now I want to add in this area, so shift the start dragging this out. And this is where I'm definitely going to need my spacebar because I'm not gonna get it positioned perfectly at first, but then with that spacebar and just continuing to be able to modify the shape, that's pretty good. So something like that. I need to get rid of a shape here in here. So I'll switch over to my alt option modifier. Again using that Spacebar on the fly just so I can move it around. So that looks pretty good. Dare. Again here, I need to get rid of this shape here. And this one's going to take a little work to get it positioned, how it should be, something like trying to finesse this one as much as I can to get it as close as I can. It's not perfect. That's pretty good. And then I see that I forgot. I need to get rid of this rectangular area down here. So again, alter option switched, switch back to my rectangle marquee. I'll get rid of all of this here, then, then boom. And just like that, if I fill that in, boom, I've got that complicated shape. So you can see these keyboard modifier keys can be really helpful. They can allow you to take these basic sheep tools and create something more complicated and also just very quickly modify your selections. You don't even have to go up here, you don't have to fool with these, just leave it on. New selection. Used those all option modifier, use that shift modifier or use them in, in concert together if you want to do an intersection of selections. Alright, so I hope you liked this challenge and I'll see you in the next lesson. 8. Working with & Modifying Active Selections: In this video, I'm gonna talk just a little bit further about modifying active selections. And so by active selections, I just mean a selection where you've drawn it out on screen, you've released that mouse button. So I'm gonna go in and do that. Now I got my rectangular marquee. I'm gonna drag out a selection and I will release the mouse button. And so now that you have a selection on screen, what are the, some of the ways you can interact with and modify that selection? So first of all, I have my selection tool still active. I just want you to notice that as I come in and outside of this selection, my tool changes might sort of my cursor icon changes. So the way it's going to behave is going to be differently. So if i'm outside here and I click, it's just gonna think I'm creating a new selection. So that old selection is just going to disappear. So I'll hit Control Z to undo that keystroke now. So that's the form outside it thinks I'm creating a new selection, however, what if I click inside? Well, if I click inside, I actually can just grabbed and move this around. All I'm doing is holding down my left mouse button. And so this works very much the same way as that shift modifier key you use when you're drag, excuse me, as at spacebar modifier key you use when you're dragging out a selection. So again, anytime you have an active selection on screen, even though you've already released that mouse button, all you have to do is move the mouse inside and you can click and you can drag, and you can position it anywhere you want. Now that is with the Select tool still active, just bear in mind if you go over to a different tool, it's going to behave differently. So if I come up to the move tool now, and now you'll notice that I still get to different cursor. So outside I get this one icon, and if I come in here, I get a slightly different cursor. So if I click outside on the current active layer, which is layer one, this gray layer, if I click and drag outside, it's selecting the whole layer and it's moving that layer. And you'll notice that the selection is moving with that layer. However, I'm gonna go ahead and release that. If I click inside this selection, then what it does is it acts actively cuts out that portion of this layer and now moving it around on the layer and it'll get reposition the moment I release my mouse button. So you see how that works differently. And the other thing to bear in mind is that your active layer. In other words, whatever layer you're on, matters a great deal because even though I have this selection here and currently I'm on the grey layer. Well, that's selections still applies if I go to the Background layer. So even though I can't see through to the Background layer because of these gray pixels right now, if I click and I start dragging inside that selection again, you can't tell what's happening, but look what happens if I turn off this gray layer. Suddenly we have this transparent area where I just cut out and move that. So a selection, even though you may be on one active layer, you can switch to another layer and that's selection is still there. And that's deductions still gonna come into play if you start performing different actions. So just keep that in mind. The other thing you might want to know is that you do have different ways to modify this selection still up under this Select menu. So if you go up under this Select menu here, you're gonna see this modify sub-menu. And I'm not gonna go through all these other options here. There are some other options we're gonna get into as we get farther into selections. But right here under this modify, let's go over a few of these. In other words, if I come in her modify in, I choose expand, I can choose the amount and it's going to make this selection even better, bigger. So if we watch on screen here, if I want to make it 20 pixels bigger, Did you see how that selection just got bigger? And so the same, same idea. If I come under select modify and I choose contract, I can make this smaller. So let's say I wanted to make it a 100 pixels smaller. And so it's going to contract down and make that smaller. And then the other one which might not be quite as option as obvious. I'm not gonna go over all of these, but let me go into over border. So if I go to border and I choose border, when you choose border, now what it's actually doing is it's going to take your selection and it's gonna build outward based on the number you pixels you choose. And you're actually going to lose that inner selection. And it's just going to create a selection which is like a border around your original selection. So I think if I walk through an example is gonna be more obvious. So I'm just gonna choose five and click OK. Now you might not be able to see it, but if I zoom in here, what the selection is actually done is change to this border area around the initial selection. And if I were to fill with about black, so actually come up on a new layer above this. I'm gonna fill that selection, currently selected area with black. So I'll go under here. Let's see Edit, Fill. And I'll fill this with black. And now we can see that my selected area was actually the inside of that, those lines. So in other words, my initial area, which was all this here, that was removed when I used that border command. And it just built a border outward from my initial selection. So just experiment around and check out some of this select Options here underneath here. When you have an active selection, which I don't have now, but you can modify and you can go under here, so I'll just do another one real quick. So select, modify. You can fool around with these different options here. Now feathering and we're going to talk a lot about in just a little bit. We're also gonna talk a lot about selective mass like subject color range. So we'll get into some of those other things. But for now, just know you have other options. And even though you've put a selection on screen, it doesn't mean you're done with that selection. You can still do things with it. Now obviously, once you hit control D, Then that selection is going on. We are going to talk later in the course about ways you can save your selection. And then when we learned about masks and things like that, we're really gonna figure out how this all ties together and how you can really be smart wishes with your selections. So you can continue to modify them. You can continue to keep them as your part of your workflow. And you don't always have to have those marching ants on screen. Alright, I'll see you in the next lesson. 9. The Lasso tools: In this video, we're going to talk about another subset of selection tools you have in Photoshop. And those are the Lasso Tools. And of the Lasso Tools are typically the L key on your keyboard. So if I were on a different tool and I were to tap l, It's going to come up there and it's going to select the Lasso Tool. Now when you have multiple tools like this, you can right-click to get an under that menu and see all the tools. And also if you hold down shift and that keyboard shortcut, which is L, Then when you're holding down shift, it's gonna cycle through those tools. So all say before I even start here that I do not use the Lasso Tools that time. And that's simply because as we get into some of the more advanced selection tools, I do think a lot of the times there are better options, but I do use the mainland CSU tool and the polygon lasso tool a little bit. And also tell you about the magnetic lasted tool, even though it is, that is not one I really use. So let's just walk through these real quick. So I'll start with just the regular lasso tool here. So with irregular lasso tool, you can click and drag any shape you want. So you just left-click and you just drag your mouse out any shape you want. So you are just clicking and dragging in drawing any shape at all. You're just making a lasso around whatever object you want to select. So it's hard to make really refined selections. However you want to make a really loose selection. This works well. So sometimes if I'm using something like a simple Curves Adjustment and I just want to highlight part of my photo. So for example, if I wanted to highlight the cactus in here, I would maybe draw a loose collection around it with my lasso tool. And then I would come under here, I would do something like a Curves Adjustment may be boosting the mid tones, maybe on boosting the contrasts. So something like this. And then of course, once I made that adjustment, I'm always, always gonna, almost always going to come in and add a feather just to blend that in. So I do use the lasso tool some in Photoshop just from making very basic selections. And then I can come in there and I can make that adjustment and I can feathered out. So last that's the basic Lasso Tool inside of Photoshop. The other lasso tool is that you have here are the polygonal, polygonal lasso tool. And without When you're basically just clicking and clicking and putting down a point and then you're clicking and putting it on another point. It is only allowed can allow you to do straight lines. It's going to put down straight lines between all your clicks. So it's not really helpful if you're trying to do curves or things like that. But I'll show you in a minute the one instance where I do find myself using it, a sum. But I'll go ahead and delete that for now, and I'll come back to that in a second. But so the next one is the magnetic Lasso Tool. Now this is one that I just don't use that often. And I wouldn't actually be surprised if they drop this from later versions of Photoshop. Just simply because I can't really find a situations where I use it. And I do think you're usually going to find a better tools. So the whole idea with this tool is you click once, sort of maybe you're going around the edge of an object. And then you're basically trying to follow with your mouth after that first click the edge of an object. And if you're reasonably close in, there is contrast between that edge in whatever it's next to, it is going to sort of act like a magnet and pull in your selection right up against the object. So let me just show you by clicking here. And then I'm no longer holding my mouse button down. I'm just dragging. And you can see, even though I'm not right on the edge, it's sort of finding its way in snapping to this edge. Now if I get into an area now where I have this carpet and suddenly there's more contrast. You notice it's not really doing nearly as well because there's not enough difference and there's not enough contrast between the object and the carpet that is next to. So it's sort of works sometimes but it doesn't work great. And then if you get too far away from your object and it's not going to work. But if you're reasonably close that at age, it sort of does act like a magnet and it sort of pulls in your selection to the object you're going around. So again, I clicked once now no longer clicking and then you just click once at the end to finish that collection and that's selection. And you have those marching ants. So if you can find cases to use this, that's great. But it just isn't something I really ever find myself using just because they don't feel like it's refined enough. I feel like there are better selection tools. Now let me return real quick to this polygon lasso tool and show you some times when I will find myself using this. Let say I made a selection like this. That's not perfect, but I have an area where clearly I want a straight line. That's where sometimes it may be. I will really quickly jump to this polygon or lasso tool. And then I will use that all modifier where I can subtract from selection. I'll click once. I'll just drag down with my polygon Lasso Tool following that straight line. And then I'll just go around it like that. And so it does allow you to sometimes to refine a selection where you know you have an edge and so you need a quick tool real quick, just lay down that straight line and either add to or subtract from a selection. And so I do find the polygon Alaska tool for that. So the main Lasso Tool sometimes for loose selections were you're not worried about making a super refined selection polygon Lasso Tool sometimes for refining, we have straight edge, but the magnetic last night, so I don't use that one so much. But if you do, that's great. So those are lots of tools when Photoshop and I hope you enjoy checking them out. 10. The Pen tools: When it comes to making complex manual selections inside of Photoshop, you really can't beat the level of control you have with the pen tool. So I would count learning the Pen tool, sort of one of those foundational things you wanna do if you want to become good at making selections inside of Photoshop. So I'm gonna come over here to my toolbar menu, and I'm gonna come down to the pen tool. Now if you can't click this little fly out arrow, if you have trouble clicking that, which I do sometimes you can also just right click over top of that and you'll see the other tools available in that menu. So we have the Pen tool, we had the free form Pen tool, we have the curvature Pen tool. I'm not really going to talk about the free form Pen tool simply because I don't think it's a very good option. I don't think it's the best choice at all, so we're not gonna talk about that. We're going to skip over that. But I'm gonna talk about the pen tool and I'm gonna talk about the curvature Pen tool because I feel like learning these and knowing these can be really helpful to making selections inside a Photoshop. So let's start with the pen tool. So I'm just gonna click on the Pen tool here. And then with the pen tool selected, you can come up here and you have this dropdown and it shows you can create a shape, you can create a path. Pixels is going to be grayed out. Pixels is something that's gonna apply if you have one of the shape tools. So we're not going to worry about that. But if you choose shape, you would be creating a vector shape with a scalable vector shape. So in other words, when you have a vector shape, it's built on a mathematical equation and so you can scale it without losing resolution. So if you want to create a shape, you can do that. But a lot of times you're gonna choose path. And path allows you to create a work path which you can then turn into a selection. So let's just work through an example. So if I click once with my left mouse button and just click once and then I click again. I, every time I click, I'm just laying down a corner point, which is called a control point. And then it's going to be a straight line, corner points, straight line. And then when you get back and you want to close the path, you would click in your U-boat hurdle over the initial point and you'll see that circle to let you know you're gonna close the path. So I click, I've closed the path. Now so far doing this doesn't seem a lot different from using the rounded rectangle tool. However, the pen tool has a lot more variation you can use by sort of adding in these control handles. And so here's how you add in your control paying handles. I'm going to click once and we're doing a new path now. But instead of just clicking once with my next point, I'm going to click and hold. And as I'm holding down the left mouse button, I can now scroll and start to add out what are controlled, called control handles. And what they do is they sort of act like magnets and they're going to sort of draw the line that you're, the path that you're drawing out towards them. So anytime I click, if I wanted to be a single point, I will just click once. And that's going to make this a sharp corner when I turn next. Now it still comes out this way because this control handle is affecting it. But you notice if I click again, it's just a straight line. But then again, if I want to again add in a control handle, I would click and hold. And so these control handles really click and hold. They let you really come in and customize this and create any sort of shape you want in here. And it takes practice to get used to it. But they really give you this extra level of control and you really can drag out any sort of shape you want. And it's best, the best thing to do is practice with this. So anyways, once you've completed a work path, if you come under paths now. You'll see that work path. Now you can click off of it and it's going to go away for a second. If you click back on, you'll see your work path there, right? So if you lose it, you just have to come back and click back on it under the path here. And then once you have a path on screen, you see these are actually both part of the same work path now. And if I come in here and I use this dashed line below this here, what it's gonna do is turn that into a selection. Now hit Control Z. You can hit Command Z to undo that for a second. You can also just control click directly on the path itself and it will turn it into a selection. I'm going to undo that again. You can also still be out on your layers and you don't have to actually go under this path. If you have your work path on screen, you just hit Control Enter. It's going to turn it into selection. So all these different ways when you have a work path, you can turn it into a selection. Now when he Control D for a second, let's, let's talk about these control points a little bit more and how you would really start to get good at creating selections. Now I think it's best to work through examples and just practice. So what we're gonna do is we're going to turn on this little shape on screen here. So if you had something like this, Of course this bottom is just a straight line, right? So I could add a point here, one click and then just a single click over here. And I've created a straight line along the bottom. Now I get to the part where I'm going to want to be able to add in this control handles because I have a curve and so I need my line now to curve. Now, when you're doing a shape like this, you really have to think about the rate of the curve. Because as the rate of the curve changes, you're going to end up needing a few more control points. But if you're ever in doubt, you can sort of pick the midpoint of a curve and just start by laying down one control point. So I'm going to lay down a control point up here. And I'll drag out as I click way, I'm bringing up these control handles. So you bring out these control handles and then I'll get it roughly where it's starting to cover. And I know I'm not gonna get it perfect because if I drag it out all the way, now it fits on the edges, but it's coming too high in the center. And I'll just sort of get it roughly right in the center there. And then I'll go ahead and release it. Then I'll put one more point here where I'm actually not up another point, but I'm just going to hover over where I started until I see that circle to close my path. So I have an approximation, but I don't have it quite right. Now. This is where you can start to use some of the other tools here that work with this to add in more control points. So if you just move over top of anywhere on your path, you're going to start to see this plus, and that means you can add in another control point. Now you can see I tried to just use one control point up here, but because the rate of the curve here is really sort of changing at a greater rate than it is here. Up top. I really need another control point out here. So I'm going to find the midpoint again of this curve and maybe I'll try something right there. Same thing over here. Maybe I'll try point right there. So get over the line and click it. And then if you're over top of that, it's just gonna wanna minus it and get rid of it. But what you need to do is use the Control key modifier. That's all not PC on a Mac, you would be hitting your command key as you're over the top and you'll notice that it changes into this direct selection tool. Now you can click and you can drag your points just like you're dragging a string. So I'm gonna get it and I'm going to get it to sort of fit to the path there. And then if I need to modify this, I can again hit the Control key. And I can actually grab these control handles. Now, if you try to just grab a control handle by default, it's going to want to move the handle on the opposite side as well. However, if you use your auth key, then you can move one of these handles at a time. So you have all these different ways to have even more control and to be able to adjust this path once you come in here to get it so it really fits well. So again, I'll use my control key to get that direct selection tool. And then I'm going to use that to pull this out. I'll try to get the bottom part fitting pretty well there. And then for this top part here, if you need to adjust that a little bit, I want to be right over that, but I'm gonna use the alt key so I can just pull this particular side of the control handle and I'll bring it up there. And you might take a little while to fool around just to get it to fit pretty well. And again, if you need to adjust it a little farther up here, I could do the same thing up here where I'm dragging this one around again, remember there's ALT in-control modifiers. Those are really crucial to use in unison with using this pen tool. Now that's not perfect, but I'm gonna go ahead and hit control enter. And you can see for the most part I have a pretty good selection around there. I could fall with it a little bit more. I could fall with that side. To get it to fit a little better lecture, let me hit Control Z for seconds, undo it. The other thing I'll point out is if you hit that control key to get this direct selection tool, you can click on any control point like that and it's selected. And while you can use these control handles or you can drag it, you can also use your arrow keys on your keyboard. So if I just wanted to nudge this a little bit to get it to move up just a little bit and fit a little better on the path there. I could do that. So you have all these options, but I think the important thing to remember is take your time. Practice, try to put down as few points as you can at first. But remember, you can always add an additional points and then remember those control. So b controller command modifier depending on whether your own PC or Mac, and all to option modifier depending on whether your own PC or Mac, because they are really useful and just allowing yourself to be able to change that direct selection tool where you then selecting the handle or the point itself and moving those around. Let me switch it up and let me talk about the curvature Pen tool. It's similar to the pen tool, but it attempts to automate some of the work for you, which can make it easier and a good choice sometimes over the Pennzoil. Now sometimes when you do need that finer control, you go with the pen tool and they actually both work the same way. You can still get to control handles and control points within the curvature Pen tool. You just have to use the direct selection tool because normally they're hidden and that's the idea. It hides them, it does that work for you? So let me show you what I mean. I'm going to right-click just make sure I do have the curvature pen tools like this. So here's the pen tool. We're gonna make sure we have this curvature pinto selected. Now. Well actually let me go back real quick. I'm gonna do the Pen tool. Let's, let's imagine a circle shape. Now obviously you wouldn't maybe just use the Elliptical Marquee or something else. It's like a circle, but this is just for experimentation so we can see. So if I had the pen tool and I wanted to select this circle, I would have to click somewhere. And I would go somewhere else along the curve. And so maybe I would try to get each quarter turn of the circle here. So if I came up here, I would have to drag out my control handles, try to get it. So I have them sort of keeping that right on the line at common, maybe add another one here. Maybe hold spaceborne down just to move a point. So maybe I would just go like there. And you can see already I'm struggling a little bit to actually get this to fit perfectly. And so I could go there. So you can see it's not perfect. I need to adjust this. And this is why a lot of times if you have a simple shape or simpler shapes, then the curvature pen tool is just going to be way easier on you. So I'm just going to hit Control, actually control enter and then just control D to get rid of that. And let me just grab my curvature pencil now. So curvature Pen tool, what the curvature Pen tool does is attempt to put down those control handles for you. And so if you add your first, it's gonna put down a point. If you add your second, it's gonna put down a point and you'll just see a straight line. When you just have to point, you're gonna have a straight line. But then as soon as you add a third, it's going to start to build a uniform for form curve between your points and just attempt to fit that uniformly between the points you have on screen. So if I just click there and there, you can see with four clicks, I already have done a way better job at selecting this circle than I did with the pencil. And I didn't do any work. The work, it's putting down those control points for me. Now if I were to come down here and grab this direct selection tool and click on any of these points I can see, yes, they do have those same Beziers handles. They're just hidden when I'm using the curvature Pen tool, if I wanted to come in here with this tool and adjust these, I still can. So it has the same control as the Pen tool. If you take this extra step. But at the same time, if you're just using the curvature Pen tool, it's hiding those curves from you and it's doing it automatically. Now, once I've laid down the points here, I want to adjust them. If I move any over, over any of the points, I see that circle. And then it's almost like you can pull it like you're pulling string. And so I could grab these to make these subtle adjustments and to get it to fit even better. So you stop this control words like sort of like pulling string. So I can really just with these four points and a little bit of work, I can really make a pretty effective selection. So they control enter. You can see I've done a pretty good job with it. I'll hit Control Z to step back a second. I'll also point out that if you want to add points, it's the same as with the pen tool. You're just overtime on top of your line there, your path. And then you'll see the plus icon up here by your tool. And then you can just put down another point, right? And same thing if you're over that, you can move that. So again, you're going for as few points as possible. But if you see points like here and you want to add another one and you just add another point in there. And then it's like pulling string where you can sort of resize and position this as you need and have it fit around your curve. Now with any of these selected two, you can also just have it selected and then use your arrow keys to move that point if you want to make that really subtle, fine adjustments. So again, I could put down a point here, use my arrow keys and make those subtle adjustments. So a lot of the times the curvature pen tool is just going to be an easier way to do it because you don't have to drag out those busy handles yourself. At the same time. If you get really good with the pen tool and you get good at dragging out those Basie handles, those control handles. Then sometimes there are instances where it gives you a final that finer level of control which you're going to need. So I would take it by a case-by-case bases and maybe start with the curvature pen tool. And then if you need to go into adjust those control handles or you need to use the pen tool just to be able to build out those control handles yourself. You can do that. So I'm just going to real quick go through an example of this car here because this is maybe a more realistic thing. So I'm, I've already done a little cut-out here, but let me just get rid of this layer mass. So I'm just going to delete this layer mask. So this is maybe a more realistic an application where you are going to actually use the pen tool to make a selection around an object like this and put a layer mask on it, cut it out so you can have this car appear somewhere else in a composite photo or something like that. So I'm not gonna make you watch me do this. I'm going to speed it up. I'm not going to talk through the whole thing, but this is where you would decide upfront, do I want to try the curvature Pen tool or do I think this is complicated enough than women need more control handles? And I might just want to start with the pen tool. I think I'm going to start with the pen tool and you can just watch, and this will just be an example. But again, the pen tool and the curvature tool get to know them and they are really a great ways of making manual selections within photoshop. 11. Challenge Exercise: Car Cutout: Okay, it's challenged time. So if you head over to the project in Resources section of the course, and in there you'll see the challenge files download and within there you'll find his car cutout challenge. And in this challenge, what I want you to do is make a selection around this car. So use any of the tools we've learned so far to make a selection around this car. And then you can go ahead and add a Layer Mask or do whatever you need to do to cut it out from the background. And then if you want to go ahead and add it onto a new background, that's great. If you just wanna cut it out, that's fine. But then if you want to show your results, you can save your file as a JPEG and then upload it right there again under the project and Resources select section of this course, you can create a new project, just post your results as a JPEG. And I look forward to seeing how you do. 12. Challenge Solution: Car Cutout: So in this challenge exercise, your job was to cut out this card and make a selection around this car and cut out this car. So anytime you have a selection job that you need to do like this, it's basically about just working through the tools, what are the options and figuring out which of those options is going to be the best choice so that it gets the job done to the desire to do the greed you need it done. But then also what's going to be the most efficient. So because you're looking for efficiency, sometimes you might try something like select subject or the object selection tool. So I'll grab the object selection tool because of the work is going to be done for you. And that would be a great thing. But so we'll just test it out to see if this is going to work. So I'm gonna make a selection. They are around the car, it's gonna go in and make it automatic selection. So it looks like it did a reasonable job. But if I really zoom in here with my zoom tool, and I sort of really zoom in so we can start to see the edges. You can see that if we were really trying to make a precise refined selection, this really isn't going to work. I mean, it's not terrible, but if you're really trying to make a precise selection, something like this, it's going to be jagged at the edge is its Miss portions of the hood clearly. So just to show this, if I go ahead and I more to mask this out, and I might be tough to see like this, but let me just add like a solid, some sort of solid background color. So I'll just go ahead and actually come in here and I'll do a solid color. And we'll just put a white background layer in here, and I'll drop that behind the car. So now you can see a little bit better if we zoom in here, just using that selection tool, it doesn't really do a great job of selecting the edges. You see we have all these jagged edges. That's really just not gonna work for any kind of professional result. So we're gonna go ahead and we're going to throw that away and we're going to throw that mask away. So Delete Layer Mask, just because this is an instance where something like the automated tools, like the object selection, it's just not going to work. This is something we're going to need to get it in here and be more refined. And this is where this is why the pen tool is such a valuable tool inside of Photoshop. Because there are gonna be those instances where you have to go in there and you have to manually really make more of a refined selection. So let's go to onto our pen tools and let's try our pencils. So you could try something like the curvature Pen tool. But for something like this where you have a lot of changes in the angle and the degree of the angle, it's going to be a little fussy if you go in here and you try to due to curvature Pen tool because if I reach a point like here where it goes and suddenly you have to wrap tightly around that tire. It's doing okay if I put down a lot of points, but I'm putting down more points and I want to, and then invariably I have things where after decide whether I want a corner point or when I want to drag this out, it gets a bit fussy. So I'm going to throw that away. So I'll go under path. I'm just gonna throw out that work path. This is a case where for a selection job like this, I would use my regular pen tool. And this is why the curvature Pen tool, I think it can be really helpful. Sometimes it's enough to get the job done. You don't have to think about it as much, but it's helpful to play with the actual regular pen tool and fool around with that so you get comfortable making selections with a regular pen tool, because a lot of times it is going to be the best tool for the job. So I'm gonna go ahead with my pen tool now and must start to make selections around this car. So I'll just sort of start right here. And as I grow them, sort of clicking and holding to drag out those Basie handles, click and drag, click and drag. And so my goal is to use sort of the fewest points possible. But I know I can always come back in here later and add points, right? It's just going to click once there because I wanted to be a straight line. Come down here. I'll click once. And if you have a point like this where it didn't quite go where I wanted to. I could of course get right over that point and try to grab it. And said what control click right over that point. And then I could click and drag it around like that, right? But you can also, once the point selected like that, you can just bump it. So if it's the last point you put down, it's going to be automatically selected. And I can just use the arrow keys now so the arrow keys to bump. And then also anytime you need to zoom tool, you can hit the z to get into your zoom tool and then p to go back to your pen tool. And you're still working on that path. It's just good to get in there whenever you really need to be refined. So getting there a little tighter with your zoom just so you can see what you're doing. So I'll drag it out a little point here. And then of course I'm holding down the space bar as I do this so I can sort of move that on the fly. And then of course, if you ever wanna move just one handle, remember you can come in here with the Alt modifier key and the Alt modifier key. Now I'm just dragging this sort of control handle, right? And so then I'll put down another point here. And I'm gonna just bump that slightly. So you see I'm using all these little modifier keys and even something like this. I don't have purpose. Perfect, it's it's fine because I can go back and I can adjust these control handles again later. So I would sort of encourage you the first time you make a pass around making your selection. Don't spend tons of time trying to make it absolutely perfect, right? You're trying to do or really a pretty good job base or a pretty good job based on what you know your final use is going to be and how precise you have to be. But then just realize that you can always go in later and be more precise, right? So you can always go in later and make adjustments. So if I have something like this and I want to sort of change this so it doesn't have the Basie Yohanan dole up here. I can just alt click and then boom click right on it. And then I got a big curve sort of up here. So I'll sort of coal down and drag it out. And then as I'm doing that, sometimes I hold down and I dragged out and then I also bring my spacebar. And again, it just sort of making use of all the different, different little modifier keys. They take this and allow you to be more precise. So I'm not going to watch you make have you watch me make the whole selection here real time. I'm gonna go relatively quickly, but still here I will speed this up just so you can see how I use this pen tool to come around this car and make a pretty good selection and then any modifications I need to make. Now the great thing about taking a selection and then turning it into a mask like this, is that we can then just come in and make any refinements we need to make to that mask, to that selection, to server sort of really get in there and get those precision edits we want to make. So just for example here, here if I alt click on this mask layer, I can see that's my mass called alt click again just to get back to my image, now actually going to just take the whole thing with this whole layer selected. I'm just gonna hit Control j to have a copy of that. And now with this copy here, I'll go ahead and disable the Layer Mask. And now if I turn this on and off, we can start to look at the selection. Now I can see here with this tire here, I've lost a little bit of that tire that I actually would like to have. So maybe what I'll do is I'll turn this opacity down just a little bit. So I have that sort of as a guide. But I can still see through. So now I can see, see that sort of the area that I'm losing their as I turned that on and off, I really want to bring that back as part of my selection. So if I just were to grab my pen tool and do something like click here and then sort of follow this line here, sort of try to do a little bit better job. This is one of those areas where with my initial selection didn't do as good a job as I could have. So maybe just something like that and I'll just go around a completed Control Enter. And then of course, if I just come down here on this layer here, which is where I'm, I don't have it. If I were to just you do control backspace now. So again, among my mass control backspace, that's just going to fill it with white control backspace. And now I've brought back a little bit more of that tire. So these are just the easy way you can come in here and you can make refinements even after that initial selection. And then of course, once you're done refining your selection, it just back to that creative process and whatever it was you intended to create in the first place. So with something like this, maybe I would add in a drop shadow or something like this. So there is a drop shadow. Here's at hue saturation adjustment layer we didn't. And another challenge. So again, very quickly I'm able to go from something like this to something like this. In all of these are through selections, of course, the pen tool to go around our car. Something like this color fill that is the drop shadow. If I do this here, again, just this selection here, a rough selection, something like the pen tool and of course, hue saturation also, that's another idea of a selection, selecting based on colors. So with selections, you can really easily empower yourself and create some pretty cool stuff pretty quickly. So that was the challenge here, cutting out this car. I think the pen tool is the best choice for that. Hope you enjoyed this challenge, Hope you had success. See you in the next lesson. 13. Understanding how Masking, Channels, and Selections are all Related: In this video, I want to talk briefly about masking in channels and selections and how these three are all closely related. I think when you start to talk about channels and masking, sometimes new photoshop users will get intimidated and they might find it confusing. But if you just take it slowly and look at how these things fit together, it's really actually quite simple and really understanding how channels mask ints and selections fit together. It really is fundamental in terms of advancing your Photoshop skills. Really becoming very, very good at making very intricate selections. So understanding these things, I think is crucial to really becoming an advanced Photoshop user. But don't worry, it's not hard and we're going to go through it right here. So let's just start by looking at Layer Mask and talking about how they're closely related to selections. So I will start by creating a selection. So I have my Elliptical Marquee here, so I will just come on screen here. And I'm just going to drag out with my Elliptical Marquee and I'll make a rough selection around this bowl. And I don't care if it's perfect for this example, but I'm just making, sort of making a selection here around this bowl. So I'm using my spacebar modifier just to move that and get it positioned the way I want. And that's not perfect, but that's good enough for now. And so once you have a selection onscreen, anytime you have an active selection on screen, you can go to the Layer Mask button here on your Layers panel and add layer mass. So if I click on this, I am adding a layer mask. And what that layer mask does is it takes your selected pixels and they continue to show through and everything else is masked away. Everything else will be hidden. Now you have a Layer Mask icon here, next year layer. And you can go back and forth between these two. So if I'm over here, I have my Layer selected. If I go to on the mass down my mask is selected. You can also use the altar Option key. And when you hold that down and then click on your mask, it's going to show you that visual representation of your mask. And if you want to hide that, again, just hold on older option and click on that and we'll go back to the layer, ok. But to actively select one or the other, you just click between them like this. Now, let me go back to that for a second. So we see on the Layer Mask, anything that is white is what's showing through. Anything that is black is what is hidden. So if I go back to my layer here by just by clicking, I can see that the only thing I have that was white was sort of this selection. I drew around the soup and everything else is hidden. So what are the advantages of a Layer Mask? Well, for one, I haven't thrown away all those pixels. So let me just create a duplicate of this layer real quick. So I'm just gonna right-click over here and create, right-click and duplicate this layer. Ok. So I'll click OK. I'm gonna throw out the layer mask on this top one. So I'll just go ahead and get rid of this layer mass when they click right on a mass where right-click and I'll delete layer mass. So now I have this layer up top, but I'm gonna lower the opacity way down just so I can see it. But so because I still have on this layer here, all these pixels, they're just hidden. I haven't thrown them away. I can still bring them back. So if I click over here, so now the mask is active. And I were to come up here and grab like a big brush. Let me just grab a brush. I'll make it nice and big. I haven't nice and big. And so get it roughly above where that other bowl of soup is. If I were to click and notice that my foreground color is white, so I'm painting in white. Buy paint with whiten my mass. What I'm gonna do, I'm gonna bring something back. So if I click there, you see the way I have brought back that other bowl of soup. So again, if I click over the mass now we see we have that white area there. So you can paint things and bring them back and you can modify your mask. And what is a mask will, a mask is really just another way of having a selection. A selection that sort of maintains active and something you can edit so you can adjust what's on screen and you can actually turn it back into a selection if you want. So if I just go onto my mask here and then I just control click on my mask. You see I'm loading that as a selection. I'll hit, Let me hit control D to Deselect. And I just wanna show you if I ought click to bring it back, back here, even with just the layer showing, I could still just control click over on the mask and I'm loading it as a Selection. So basically what a mask is, it is a gray scale representation of a selection. And you gotta think of this in terms of luminosity, brightness values. So anything that's Fulbright for white is going to be 100% trans. And you can see it. Anything that is full black, 100%, you can't see it. And then all those shades of gray in between are going to be semi-transparent. And so for example, let me just go and I will come here and I'm going to get all my Layer Mask again. But this time I'll go to my Gradient tool and let me change this to a basic foreground to background. So now it's going to go white to black. And I'm going to drag this white to black gradient across this my Layer Mask. So in other words, if I was over here on my layer itself, so let me click on that. Now with my gradient, I'd actually be doing a gradient on screen here. And it's actually only going to show where I have that mask, right? So if I turn off this layer above, so it's not affecting and showing through. See you now I added that actually on the layer itself, but where is it showing just where I have this mask? Well, let me undo that. If I were on the layer mask itself, actually let me undo that twice because I gotta get my, there we go. I've brought my Super back. Let me hit control D to D select and now my mask and now I have my gradient. So now if I do that again and drag it across, now you'll see that I'm actually controlling what is being shown on screen. And so potentially it's, let me alt click over, since it's white on this side, all of this is going to be 100%. You can see it, but then it slowly going to fade to black where you don't see anything on the other side. So if I go back to my image just by all clicking so we can see the image. You can see that is what has happened here. We can fully see this, but the more we go across the screen, it is this fading to totally 100% transparent. And again, you could totally load this as a selection. All of this is here is a sort of luminosity representation of a selection. So if I were to click on this, it's going to, let me just excuse me. If I'm gonna control click on this. It's going to show just like I selected halfway. But really, I've selected everything that's on here in terms of, you know, what the grayscale value is. So let me just go completely to a new layer. I'll just choose some random color. Like blue, click OK. And then I'll turn off these other things. And with that selection I just made, I'm just gonna do an Alt backspace to fill with my foreground color. And you'll see that it's basically that same as that black to white gradient, except the blue is fully visible here. And then as you go across the screen, it's slowly fades out. Now you have a little bit of blue over here, but then it completely fades out as you get to the edge, right? And that is because this here, this mask here is a luminosity of brightness value representation of a selection. So again, fully selected. And then as you move across the screen, you move to an area that's not going to be a part of your selection at all. And it actually applies that selection as a mask when you are looking at the layer itself. So it's applying that selection here to this image that's on your layer. So the advantage of the mass is you're not throwing out pixels. So it's sort of a non-destructive workflows, so you can come back to it if you need to, if need to paint back pixels or if you need a pain away pixels. But then also you can easily load that as a Selection. So it's like a way of saving your selection. So that is how mass and selections are related. And it's sort of fundamental as you get into Photoshop to have a pretty good understanding of that. Now I mentioned it's sort of a way of saving a selection. You can also save a selection to a channel, channels or also related closely to selections and to Mask. And I'm going to show you what I mean. So let me just get back here to the beginning. So I'm just gonna go ahead and I will delete this layer mask and I will throw out these other two layers just so we're back to our original image. So we saw basically if I made a selection around this soup. So I'm gonna do it again roughly. If I made a selection around this bowl of soup, we saw how I could then click a Layer Mask and it would mass that. But then also I can anytime Control click on that layer mask and load it as a Selection. So sort of a way of saving a selection, it's part of the layer mask gets built in. What is a layer mask? It actually is a selection. It's just actively controlling what is being shown on that layer onscreen. Well, another thing you can do is you can actually save that selection. You can come up under select, and you can choose a Save Selection. Now when you save a selection in Photoshop, you're actually saving it as a channel. And this is going to sort of get to the heart of what channels are. But so it wants me to save this to a channel. It's asking you what document this is the open document. You can save a selection to this document, or you can save it to another document if you Shorter had a shape here that she wanted to bring Just as a background element that you are going to fill with a solid color, you could save a selection to another open document. But I'm just going to save it to a channel, a new channel. And I'm going to come here and I'll leave it, name it. So I'm just gonna call it circle, but you can name it whatever you want, something that would make sense. So I'll just go ahead and click OK. And so it doesn't necessarily look like anything happened, but I will hit control D to D select. But then if I go over to my channels palette, I have a red, green, and blue channel, as well as my RGB. Channel. So you're working in a, usually a red, green and blue color space and RGB color space and Photoshop. So you just usually have these three different channels, your red, green, and blue, that are making up your document. And usually they're all turned on. And that's why you're seeing that RGB composite, which is just a composite of all those colors and how they fit together. But now we also have this circle, which is what we just loaded. And you may notice this looks exactly like the Layer Mask. And why it doesn't look exactly like the layer mask will again, channels just like mass or just a grayscale representation, the luminosity, right? So again, if I were to control, click on this, I can once again load that as a selection and I've loaded it. So all these white areas became my selection. The black areas did not become part of my selection. Now this circle channel here might look a lot different to you than the blue, green, and red channels we have with this image. But they are actually the same thing. The only real difference is this, this circle channel doesn't have anything to do with color. While these blue, green, and red channels are selections, their luminosity representations of the amounts of red, green, and blue that are within this composite image here. But we could still come in under any of these channels. So I could come in under the red channel and I can control click and select those that luminosity range as a selection in some way. Use that in my image, views that as I'm making edits. So it's really no different than this channel right here. They're doing the same thing. It's just that this is a much more complicated image and then the color is coming into play. So let's do a simple example just so I can prove to you that this is what's going on. So let me just actually click on the RGB image here. I'm actually going to come back up here. I'm going to take a new layer. And what I wanna do is I'm going to come in here under my colors. And I'm going to make a color here, just 100% blue. So you have a range of colors that sort of goes from 0 all the way up to 255, so 255 shades. But so I'll set this to 0 for red, 0 to green, and then 255 for blue. So basically this is like We're gonna create something that's pure blue. So I'll go ahead and click OK. Again, I'm just gonna drag something out that's roughly like it was before, just so it's gonna be something simple on-screen. I will just hit Alt backspace and now I am filling it with that pure blue. So I'll turn off this layer here. So we just have that blue. Now, what sort of thing do you expect to see when we go back to that channels palette? Because that channels is going to be a representation of what's currently active on screen. Can you figure out what we're going to see? Well, let's go back and see. So if I go back now into the channels now, you'll see that we have our composite, which is what we see on the screen. But then if we go to the red channel, you're just seeing black, right? Because first of all, we have transparent pixels because transparency is gonna show for anything that's transparent on your image. And so since we don't have anything here, It's just showing transparency. Just to show that I could come in here and I could create a solid fill layer underneath this. So let me just do real quick a solid color layer and we're just gonna make this totally white, so all the way white. Okay, now for we go back on channels, we see that again, there's our composite. If we go to the red channel, we just have a circle. It's totally black. Why? Because there's no red in this image. Would go down the green, totally black again. Why? There's no red in this image. And then if I go down to blue, well then we just have totally white. Why is it totally white? Well, because it's 100% pure blue. And again, if we wanted to turn off this layer here, so we just had transparency, then that would be reflected over here in this channels, again, red, green, and blue. And now suddenly this doesn't look very different than this alpha channel we created, right? So they seem complicated. And if you just go over the channels palette and you start clicking through, it might be kinda confusing. But if you start to understand, it's just as luminosity representation of colors. And those luminosity values, or the same thing that control selections and mass. Then suddenly you see how this is all put together, how it all fits together, how it's all related. And this is actually going to be quite powerful as you get more into Photoshop and you start creating advanced selections. Because there are definitely ways you can use mass to your advantage to make even more refined selections. And there are definitely ways at times where you can use channels to your advantage, to go into those different color channels and use them to aid in your selection. Okay? So channels, mass and selections don't be intimidated, just fool around and you start to get the hang of this and you start to see how all of this is related. Okay, I'll see you in the next lesson. 14. The Magic of Feathering: In this video, we're gonna talk about feathering and Photoshop and how feathering relates to selections as you make selections. Now it's a simple concept, but it's one that's really important to know. So we're just gonna go over it just to make sure because depending on what you're doing, sometimes feathering and Photoshop, whether you have it or you don't have it. It can make all the difference in the world to making some sort of effect work or not work. Let's just go through a couple quick examples. I have curves layer here, which I'll just ditch for the moment. But I'm gonna go ahead here. And I'm going to come up to my Elliptical Marquee, can see ABA, feathers set of zeros. I'm just gonna go ahead and drag out a selection here around this bowl. Something a little beyond doesn't have to be precise. I'm just dragging out a selection. Now. I know that I had the feathers set to 0. But even if I'd had it set to something, I'm OK. And I don't have a good representation of that edge of this selection if there is a feather. So one way to get around this is you can hit q on your keyboard, and that will take you in and out of quick mass mode. And when you're quick, in quick mass mode, you just see this color overlay. And the color overlay let you know the area that's not going to be selected and then the area that is selected. Now if you wanted a different color or something, you can also hit this button down here to go in and out a quick mass mode. And if I double-click on that, it'll bring up this dialog box here. You can click on this, you can come in, you can set a different color if you want to. You can change your transparency and newbie opacity level, all that stuff. You could swap the mass area in the selected area. I like to leave it like that. I like to leave it at red, but these are all things you can change. Now that 50% capacity is important because in quick Massimo mode now one advantage it has over sort of irregular mask is that you can see through to the layer below. So you sort of get an idea of whether you're missing pixels or you have put something in your selections that you wouldn't want in your selection. So it does give you a visual representation of not just your selection, but also that layer you're selecting from. So it can be helpful, and sometimes before you go to a full-on mask, it is helpful to go in and out a quick mass mode here. So I'm gonna go out of it for a second while I'm let me go back in one more time, one more time. So with a selection here, you can see how you go straight with a hard edge here from everything being selected to go outside of it. And all those pixels are completely not selected. Now when hit q to jump out a quick mass mode, I'll hit control D just to undo my selection. That would be Command D if you're on a Mac. And let's do this again. Let's come on here. But before I do, it's come up here. Let's set this feather to something. We'll go pretty big, will go a 100 pixels. Go ahead and hit enter. Now I'm gonna do the exact same thing. Just drag a selection here, drag it out beyond this bowl. And then again, I'll hit q to go into quick mass mode. Now before I do that, look, it looks exactly the same. If I was just looking at this, I wouldn't get a good feel for what's happening at the edges. But if you go into quick mass mode. Suddenly now you can see how at the edge there's this soft age. And you have a gradual transition between what's selected and what's not selected. Okay, So hopefully that feather, that feather at the edge, you're starting to understand why it's called feathering and how the feather works. So I'll just exit quick mass mu it. I'm gonna do this one more time where I go in and set this back to 0 and hit enter. Now we're gonna do all this one more time just because I want to show you now how this comes into play when you go into full on mass mode. Now, I'm going to drag something around here. Doesn't have to be perfect, doesn't have to be what I did before. So something around my bowl there. Now, you can apply a selection like this, whether it's feathered or not, to a layer in control visibility. So if I go ahead and quickly, if I go ahead and click this Mask button below, what I've done is I've added this mask, I can click over. And this is reminiscent of the quick mass where you see how we have this hard edge. White means you can see it. Black, you cannot see it. And anything that was gray would sort of be semi, semi-transparent. If it's a dark grey, it'll be mostly, you can't see it. If it was very close to white light, light, light gray, then you can mostly see it. So just pay attention to the mask here and you'll start to get a feel for just how those shades of grey control what you are seeing through. Again, I'm just using the altar Option key to click on this to switch back and forth between seeing my mask and seeing the actual image and what's being hidden. Button will throw this out for a second. So I'll just right-click and delete the layer. Because you can add a mask like that to a layer. But you can also add a mask or go from a selection and an atom mask to an effect. So in other words, you can control the visibility of an effect. So again, same thing will just go and drag out a selection here. Just drag it out over this bowl repositioning Now we want, and then again, this time i will go, but instead of doing it directly on the image, I'm going to go into an Adjustment Layer. And if you have a selection on screen, when you're adding an adjustment layer, then it's going to apply that selection as a mask to your adjustment layer. And it's done that now for this curves layer. Now I can use this Curves Adjustment Layer to brighten my image to make it darker and certain spots. So I'm just gonna grab the mid tones, pull up all the mid tones here. The sort of brighten up my main subject within this image. So this might be the kind of edit you wanna do. But if you do the edit like this with no feather, it's just going to be obviously photoshopped. This is not going to be a good image because you want to Photoshop and image sort of with a level of refinement so people can't really tell that it was photoshopped. You just want it to look natural. If you have this hard edge here, that's not going to look natural at all. It's really going to be distracting to the viewer. And it's just not going to be an image you can use. So how did we get around this? Well, as said before, we could go in and we could add that feather before we made a selection. You could also, once you have a mask, always add a feather after the fact. So let's see how this works. So you can be selected like this on the Curves Adjustment Layer early adjustment layer itself. Or you can be over on the mask. And when you're on the mask, you see how you get this properties dialog box. And if you don't see that she can go window and you can bring up properties and bring it up on your screen. And you've got this refined feather slider here. Now, if you come in here and start to drag this up, and let me just go over to the mask first so we can see it on a mass. So alt click or option click to get over to that mask as I drag the feather, see how that edge starts to soften, right? So we're basically given a range of pixels that we start to make a transition between white and black. Okay? So it may not seem like a huge deal, but suddenly having something like this where we have this hard edge, it's gonna make all the difference in the world. Because if we start to drag this feather out, then suddenly we can make it where it's this seamless transition and the eyes not really gonna pick up on that, right? But so we've been able to really brighten up our subject, but because we feather the edge, it's a really effective edit. So sometimes with an image like this and you want to draw attention to your subject, it's as simple as making a really rough selection around it. And then just adding that feather to your adjustment. So you're not whacking the viewer over the face with some obvious transition line. You're using that feather to gradually have the transition so it blends well with the overall image and then you have a much more effective edit that actually works. So feathering is a simple concept, but it just takes a little practice if you're not used to it. So experiment around and realize that you can add the feather before you start up here. You can also go into quick mass mode if you want to see that visual representation. But then when you get it under a mask, remember, you also have that properties dialog on your mask, where you can then refine the feather in here and you can pull it back and you can add it up. So obviously like this, it's gonna look terrible. But suddenly if you use this to blend, it's almost like a blend slider. Then suddenly you can do really cool things. Alright, so that's feathering and Photoshop. I hope you like this. And I'll see you in the next video. 15. The Importance of Brush Hardness: One thing that's closely related to feathering, and it's basically the same thing. If you start working with brushes in Photoshop, you'll notice that they have a hardness value. Now why does this matter? So with this brush here, I can say that the hardness all the way to 100, or it can make it really soft all the way down to 0. So here it is at 100. Boom, look at how crisp that age is. It's got that hard edge. If I bring this down, you can see all I've done is really added a feather to the edge of the brush, right? Okay, that makes sense, right? But so why are we talking about brushes? A course about selections? Well, just like it matters with feathering. And I showed you that example with the bowl of soup or the bowl of food there. It's going to matter if you make selections. When you come to make refinements, if you're using a brush. So let me just come over here and we'll go through a quick example. So I'm not going to make it perfect selection of this guy, but I'll just grab my pen tool and I'm going to zoom in a little bit. So again, I'm not going for perfect selection here. I'm gonna do this pretty quick, but so I'm gonna come here, I'm going to come here and we start to drag a selection around this guy. Again, I'm not trying to make this perfect. I just want to illustrate the point. So I'm gonna do just enough here to illustrate the point. And then we'll move on. So this is going to illustrate just why it is really important that you pay attention to the depth of field of your subjects. In other words, what's in focus, what's out of focus? Because you're gonna need to take that into account when you make your selections. So again, I'm just doing a really rough selection on them. Ok, don't worry about the bottom half of the selection. I'm just getting enough so we can sort of see what I'm talking about here. So I'll go ahead and hit Control enter, okay, and then we'll just go ahead and go into quick mass mode. So I'm just gonna hit q. And now what's going to happen? Now? Actually, I'll go ahead and let me exit out a quick mass mode. I think I'm gonna go ahead and add a mass to this. And then we'll just go ahead and we'll put a solid color layer and we'll move that below. So this can be any sort of color. We'll just make it yellow. Let's find something like that. We'll put that behind our bird. So now we can see your bird. Now, if you look at a bird here, this bird, if you really want this to be an accurate selection, you really have to have the edge of your selection, the edge of your bird, mimic that depth of field. Another words right here at his beak where it was really sharp. It may make sense to have a crisp selection here, another words, a crisp transition and a hard transition on your mask. However, if this bird really does fall out of focus back here at the back side of this. Then what you would really want to do is you would want to come in here and you would want to sort of adjust the hardness here at the edge. So if I was using a tool, maybe I would come in here just for a second. And so I'll just go ahead and let me just grab part of this and I'll actually just fill it with blacks who control backspace. And then what I'm gonna do is I'm gonna take a brush. But what I wanna do is I want to sort of mimic the hardness and the smell them by hardest, I mean, how in focus that subject was. And so that bird was definitely starting to fall out of focus a fair amount. So maybe I'll put the hardness to something like 70. And so just to see what that's doing, that suddenly giving that soft edge there. Okay? So I'm not going to work. Why see this mass going to work here on the edge? But now if I had my pen tool or my brush here, and I can adjust the size of my brush so make it smaller. And so again, I would maybe have the below layer so I can see it. But what I'm gonna do is start painting now. And because I have this edge here, I can adjust sort of how soft this is. I make Control Z because it seems like we need to have it even softer. So control, Control D. So let me just come in here. I'm gonna take this soft, it's all the way down, maybe even as low as like 42%. But so in other words, as I come in here now, I'm also getting some of that background in Beyond the bird. We just get up to the edge of the bird. There's the edge of the birds. So now we can actually see the edge of the bird, right? But so now we'll do x. So I'm painting with black and rather would really would like to do is just sort of cozy up to this. But again, just the fact that now I'm going to have an edge on this bird that's matching how he's falling out of focus. That's just going to look a lot more realistic than having that hard edge. Ok. So in other words, if I wanted this bird to be a realistic cutout, I would have to mimic the hard areas in the soft areas when I make that selection. So that's just where this feathering, this hardness of the brush comes into play. So I'm just giving you all these things because you may find someday that why, why is this selection does not quite looking right? Well, maybe it is that you had a soft subject, a soft edge, but then you just meet a hard cut out around it, right? You're going to need to mimic those hardness and softness so that when you have this areas that fall out of so focus and you're making a selection around something like that. You're not going to want to heart edge, you're going to end in, you're gonna need the feathers selection in some way. And we know you can come in here and you can manually feather the whole thing, right? If we have properties up here, but that's only going to manually feather like that, right? So let's just see that however, if I did that, that's not going to work for the whole bird because I do want this H here to be sharp. So sometimes you might have to manually get in there with a brush and brush with a different amount of hardness. Okay. So hopefully I haven't confused you, but just wanted to really cover that because it is something you'll run into if you really get into compositing and making selections and other things, when you have depth of field on a subject that you're trying to cut out, you're gonna have that variability in terms of how hard the edge is, in terms of the focus areas to the out-of-focus areas. And that is something you're going to need to account for when you're making selections. 16. Review of Quick Mask Mode: In this video, we're going to quickly talk about Quick Mask Mode inside a Photoshop. So anytime you have a selection on screen, you can go into quick mass mode. So let's go and do that now. So I'm just gonna come up here and grab this Elliptical Marquee, drag a selection, and once I have the selection on screen, I can enter quick mass mode by either hitting this Quick Mask Mode icon down here, or I can just tap q on the keyboard. So Q on keyboard takes me in QuickBooks mode. It's also going to be the same key I'm going to use to leave keep quick mass modes. That is q will toggle me in and out of that quick mass mode. And I can also use this little icon here. So what is quick mass mode? We've talked about channels and masking. So quick mask is just a nother yet another way of viewing a selection. So is viewing a selection and basically in mask format. But before we go ahead and finalize that mask, so you may be used to from those previous lessons and from your experience inside of Photoshop, seeing that mask and that grayscale black and white mode in quick maxima of what you're gonna do is you're gonna get a colored overlay. And so you're gonna see on screen what is selected. And then you'll have a color overlay showing the areas that are not selected. Now you can come over and under here and double-click on this icon and bring up this little box here. And you can basically change it. So the color indicates either the mask areas or the selected areas. I'd like to leave it as a mask areas, but that is something you can change. And you can also come in here and experiment with this color in that capacity, I usually even at red, but if it was sort of conflicting with your subject ONE screen, for example, I wouldn't wanna choose green here may because it would mix up with a frog and I might get a little confused as to what selected and what is actually part of my, you know, mast area. So red makes sense in this case, but you come can come in here and change this if you have instances where another color would make more sense and make a better user experience. And then also the opacity that's controlling the degree to which you can see through to the background. So if I came through and did something like 40, I would make it. So I'm seeing through a little bit more to the background here, but again, so I'll go ahead and hit q into quick mass mode. So now I can see through even a little bit more to the background. So you can adjust those settings and find what works for you. But sort of the advantage of quick mass mode is first, it's just really easy Q and a keyboard boom, you can jump into it. And then the real advantage is you can see what areas are feathered, where you can't see that in marching ants mode. And then also advantage over like the traditional mask would be in a traditional mass could just seeing that black and white area or it's hiding everything. And you can't see on screen the areas that aren't selected. So here for example, I can see this frog sort of comes down here. And so maybe if I wanted to add that to my selection because I'm in quick mass mode, I can see in here and sort of refine my selection. So let me just show you real quick of a jump out a quick mass mode. And I'll just go ahead and redo that real quick. But this time we'll add a feather of 100. So just the way we did this experiment with a mask, you'll see the same sort of thing here if I jump into Quick Mask Mode. Now you can start to see how the edge is soft and it's feathered. Now, once you wanna make adjustments, of course now I'm in here, so let me just grab my brush. I'll bring that flow setting all the way up and I'll bring my hardness up for now. I'll just somewhere in 61, whatever doesn't matter for now. I just want to show you that it's the same thing as painting on a traditional mask. In other words, if I paint in black here, I'm going to hide something and I'll start to see this red overlay. If I want to bring it back, I'll hit X to switch to white, and I'll paint a white and you can bring it back. So you're just painting in black and white to hide things or to show things. Pain in White to show things. And of course, you can still use shades of gray. So if I were to come in here, choose something like a 50% gray. And you see, if I see the difference there, sort of 50% transparent, I can see through it to the background, so it's partially selected. And notice this partially selected area again, if I go into quick mass mode and I leave quick maximum load with that Q, you'll see that it shows the fully selected areas, but then remember, we can't see those partially selected areas when we're just dealing with the marshal, the marching ants on screen. But again, if I come back into quick mass mode, we can see it does have a feather, it does have a soft edge, and it does have those semi-transparent areas that again are partially selected. So again, that's quick mass mode. Sometimes I will jump into quick mass mode quickly when I want to start a selection. And then if you want to finalize that, of course, once you're outside a quick mass mode, you can still use this mask light in here and turn it into traditional mask, but that is Quick Mask Mode inside of Photoshop, it can be helpful. So just remember q on your keyboard that takes you in and adequate mass mode. And then if you double-click down here, you can also bring up those settings if you want to adjust the color or the opacity. So quick mass mode in Photoshop take advantage of it and you may find it's helpful in some situations. 17. AI with Object Selection and Select Subject: In this video, we're gonna talk about both the select Subject tool in Photoshop and also the object selection tool. Now in recent years, Photoshop CC has become a lot smarter and terms of artificial intelligence and those algorithms working behind the scenes. So these are two of the newer tools in Photoshop and they really can make your life easier and do a lot of the work for you. So let's start with the select Subject tool. Basically what's like shoves it does is it looks at your entire image and it attempts to make its best guess at what the main subject is of that image. And then it will go ahead and make a selection of that subject using just that artificial intelligent algorithm behind the scenes based on a database of thousands and thousands of images that it has. So let's go ahead and see how it works here. First of all, there are two main places you're going to find this. So with this image here, if I come up under Select all see select Subject there. You could also find this under the Properties tab. So I have the Properties tab here. I can click to open it up. I can also go window. And under here, if you don't have it open, you can go window properties and see it this way. Now, I want to point out, even though I did see selects and subject as an option on here, when I call on the Properties menu, you will not see select subject. If it is a background layer, this is currently a background layer, it is locked. Here's the Properties menu. I do not see select subject as an option. You can still find it into menu up here. But if you want to see under the Properties menu, which you have to do is just changed this from background layer. So if I just turn off this lock and it becomes a regular layer, now suddenly I see this select Subject and remove background. And remove background is basically the same thing as select Subject, except that goes ahead and deletes all those pixels that were not selected. I don't really recommend removing the background because that's sort of destructive editing I would do to select subject first and then if you want to move, remove the pixels, you can. So go ahead and select subject, and I'll go ahead and click it now. And we're going to see what it does. So it's gonna go ahead and it's going to analyze this image. It'll take a few seconds and then it's going to make its best guess at the main subject of this image. Now let me go ahead and get this minimize so we can see, and you can see, it's done a really, really good job at selecting this subject. Now it's going to work better on images like this, where you have a lots of contrasts between the subject itself and the other part of the image. However, it's worth trying on a lot of images because it really does do a pretty good job. Obviously, it's not going to be perfect on all images and you'll see that if you try that. But it is a good place to start, especially if you think your subject does have pretty clear to find edges. I could use something like the pen tool on this, but it would have taken me a lot more time. Obviously, if it misses spots like that, you can still do all the other tricks. So with my Elliptical Marquee, I could just hold down the Shift key and I could grab that little part it missed. So you can still combine it with other tools, but it usually is a really great place to start. Now, I could turn this to a mask at this point so I can apply a layer mask if you could do whatever I wanted to do, I'll hit Control Z to back out of that. But it works the way any other selection works. Once you have a selection, you can do whatever you want and apply it to that selection. But it's a great way to start and making a selection automatically. On our main subject in within your image. Now it worked really well on this image, and it does work really well on a lot of images when it's sort of a clear subject and it can save you a lot of time. Now, is it going to work perfectly every time? No, but it's just one more tool in your arsenal. In the more you use it, the more you'll get a sense for what images is going to work well on what other images you might want to use a different selection method. So let's just look at a couple other images real quick. So here's one with these trees. And so if I try select subject here, let's just go ahead and see what happens. Select subject. And we'll see that gave it a second. It did not do a very good job at all. So something like this, it's just not gonna do a very good job. It tends to work better when you have a clear subject, it does pretty good job with people. Sometimes when you have a clear subject that's more and focus that works well, let's just look at another image real quick. I'll try this one on screens or here's a butterfly image. Let's just try this same thing will go select, will choose subject. Let's see how it works at this image. Now I would expect it to find and pick out the butterfly. Let's see how it does with that. We'll give it a couple of seconds here. It's, it's running. And so it did a reasonable job at selecting the butterfly, but it is picking up some of this other stuff here. Of course, if I didn't want that other stuff, I could start to fool around with my other selection tools. So maybe I'd grab the lasso tool and just come in here and say, okay, let's do an ought to get rid of things. And I'm just going to sort of drag around here but get rid of this other stuff. And so again, you can still come in here and you can do all this refining of your selection and take the time. So sometimes it's a good starting point. Sometimes it's going to do the job only almost completely all by itself. And then other times like this image, it is going to fall down and not do as good of a job. So one more tool you'll learn by experimentation when it works well and when it is a good choice. And let me jump back over to this image. And now I'm going to talk about the object's selection tool. So the objects selection tool works much the same way where it's attempting to pick out sort of the contrast at the edges and find the subject. But what you're doing is you're giving it a smaller area of the area of the screen to work on. So here's the object selection tool up here. So I'm gonna go ahead and first I'll hit control D just to de-select that current selection. So here's the object selection tool. And the difference is instead of searching the whole screen, I'm basically going to make a selection to start. And then it's going to search within that selection and trying to find the subject that sort of within that selection. And it does that by basically looking for edge contrast. So areas of edge contracts, trusts. So if you use it on a soft, shallow depth of field image, it's probably not going to work very well, but if you have that edge contrast, then you can do a good job. So how might come into play here? Well, let's say I wanted to select just this guy's helmet. That's where I might use the object selection tool because obviously you're gonna grab the whole thing with the subject selection tool or select subject. So you can come up here and when you're using this tool, you can use it in lasso mode, which works just like the lasso tool, or you can use it at with a rectangular marquee. I tend to use the lasso tool just because it gives you a little bit more control because then I can draw exactly what i want around here. So let's just say I'm just trying to get his helmet. So I might draw something like that and it's going to look within that area. It's going to try to find the subject within there. And I can see that it did a reasonably good job. Now, of course, if I wanted to clean this up, I could come in here and I could drag drag something or grab something like my polygon or lasso tool. And then I'm gonna use the shift key or actually the Alt key. Cause I'm trying to get rid of this area out here because I want to just sort of grab that helmet itself. So I don't want these pixels here. So maybe I do something like that and release it and refine my selection that way. But so it is a helpful tool and it works a little bit better in some situations, the slips like subject when you want to get in and sort of target a smaller area. So again, all grab it again. This time we'll just do the rectangular marquee. Let's just say it was trying to describe his hand here. Maybe I needed to cut out his hand. So do something like that and then give it a moment to think and you can see it really did do a good job. Now, is it always going to be perfect? No, it's just like that example where we looked at the trees. It's not always gonna do a good job, but you'll start to figure out the times when it is going to do a good job, when it is a good choice. And in those instances, it really can save you a lot of time. So this is the select Subject option in Adobe CC and also the object selection tool. They both have really strong algorithms. Sort of artificial intelligence is looking at a, a database of images sometimes, but it's also looking for the edge contrast. And it really, really does do a good job and a lot of instances and can save you a ton of time. So check it out experimental round and I hope it works for you. 18. Don't Forget about Blending Modes: You will run into some situations in photoshop when making a selection is not the right answer. And that is because of blend modes in the power of blend modes. Now I'm not gonna go into this and crazy detail because this is a course about selections. But I do want to point out to you that sometimes they're making a selection isn't even necessary. So let's take, for example, this picture here of this sky. And I also have this picture here of these birds. And let's say I want to drop these silhouetted birds onto that screen. You could think about making a selection around these birds. And there are ways you could do that fairly easily, but she don't even have to mess with that. So let me just grab this. I'm gonna bring this and I move it over and drop it into this image here. And now all I have to do is use the power of blend mode. So again, I'm not gonna get into all the different blend modes, but they're blend modes in here that will help you hide dark colors, show dark colors. So if I just go through my blend modes right here, I can see that this darker color blend mode. So basically what it's doing is it's finding the darker color between this and the underlying layer and whatever is the darkest color it's showing that through. And because normally this has all this bright colors. Scylla wedding, the birds of the sky there. Bright colors are gonna get pushed to the background because the colors on the layer below are darker. So when I choose darker color, it's going to do that. And so just that easily, I didn't make a single selection. I'm just using these blend modes, but now suddenly I can position these in this photograph Anyway I want, so again, I'm not going to go crazy into blend modes, but you do have those blend modes that you can take advantage of and sometimes you don't even need a selection. I will also point out, let me just set this back to normal real quick. I'll also point out that if you double-click on a layer, you can get into this blend. If dialogue where you get into this Layer, Layer Style dialogue. But if you're in the Layer Style doll dialogue, and again, I just double-clicked on this layer itself to get into this, then you have these Blending Options. And you can start to blend your layers this way to just based on the luminosity of this channel and the channel below it, excuse me, of this layer and the layer below it. Or you can use the different channels. But I'll just take on gray here. So in other words, this layer, if I wanted to take the white and hide the White, I could slide it over and get rid of the white. And there was also a way to split the, so you see how there's that harsh transition if I were to leave it right there. If I use the altar Option key and I click just on the edge of this one little thing. I can split this and use that to solve an outlet transition sorted between what's, what you're seeing and not seeing. So again, I'm not gonna go crazy detail into this, in this class because this is a class on selections. But I just wanted to point that point out that you do have these blending modes in Photoshop and you do have this blend if slider, so you can fool around with two of those, the two of those, and sometimes you do not even need to make a selection if it's something where you have luminosity values, bright and dark values, or other things that let you use. One of these blending modes are used that blend if slider, and then you don't even have to make a selection. You can just blend things together that way. Alright, so just one more thing to keep in mind. I know Photoshop has a lot of layers, but she more Elon these layers. You learned these tools. The more you learn these tricks, then you really can choose in a given Situ situation what the best solution is. And that's usually just what you're most comfortable with, but also it'll start to be what's most efficient, what you can do, the easiest. 19. Selections by Color Part 1: There are lots of different ways to make selections in Photoshop. And when it comes to choosing the method you're going to use, it really comes down to just choosing what is going to be the most efficient, what is going to let you get the job done in the least amount of time. So take an image like this. If I wanted to select around sort of the yellow window frame here, I could do something like grab the pen tool or one of the other tools, quick selection tools. And I could try to make a selection that way, but I could do this a lot more quickly just by making use of the color in the image. Now there are a couple of different ways to make selections by color. So I'll show you a few of those ways. First gonna come in here and I'll just come at our adjustments and I'm going to create a hue saturation adjustment layer. And then when you have hue saturation adjustment layer up on screen, if you grab this little icon here, this allows you to click in sample your image. So if I go and I want to slump sample color now that I have this color eyedropper because I've selected this, I'm going to click on the yellow. And now you'll see that it went ahead and selected and recognize that that was within the yellow color channel. So again, if I go back to masters, I'm not going to see anything. I'm not going to see anything under these other channels, but if I go to yellow, I'll see that it did select this color range here. You can't tell by default that something is selected, but you can see it down here. You can't see it within your image. But watch now what happens if I start to make adjustments? Now I'm just going to drag the lightness down so we can obviously see what's areas of color are being affected. So if I grab this lightness slider and I drag it down, you can see that it is a very effective job of selecting the colors within that window sill. So if I come back up here and I put this back to normal lightness level, I could do things now like I could change the use of, I wanted to make this a red window. I can maybe do that and then maybe I'll make it a little darker. So very quickly. And just with one click, I could come in here with this hue saturation adjustment, grab this little color picker, picker tool. And with one click, I was able to make the selection of this window where if I use a different tool, I'd be wasting time. I'll be taking time that it did not need to take because this is just so such a, such an effective way to make the selection. Now let me, let me show you a little bit more in detail how this is working here. So I'm actually gonna go ahead and turn off these two layers, and then I'll turn on this other layer. And this is just a simple sort of red, orange to yellow gradient. So sort of red color red or orange, but everyone will call it to yellow. And so sometimes looking at something simple like this is a best way to get to the heart of how the tool is working. And you really need to understand the tool if you're going to really start to know when to use it, how to use it, and to take the most advantage of it. So I'm gonna go ahead and create a new adjustment layer above this. And you can create as many adjustment layers as you want. So just we do another hue saturation adjustment layer and we do the same thing as we did before, where I'm gonna come in here, I'm going to choose this sort of hand tool, this color picker. And I'll go all the way to the left here and choose sort of this red orange color. Now when I did that, you'll notice that it jumped from this master channel and it recognized that I was clicking something sort of in the red range, so it automatically jumped over here. So just know that you have this master channel. And then it jumped over to the reds and it made this selection on the Reds. Now, if you're under the master channel, that anything you're gonna do, you do is going to adjust all the colors in your image. So if I was on the master chain, on its sort of fooling around with this lightness, I can make the whole image totally black or white. I'll set that back when I used this selection tool, but I did it was then click on the color and it used that color to build out a range. Now to see that I have to be over on the ridge channel and on the red channel we can see that we now have these little odd sort of slider dots, slider control points to show where the selection is on this color ramp. And that's illustrated by if I make a change now you notice it's no longer affecting the whole image because I'm just under my red channel. So it's picking all those reds within the image. And they're getting totally selected over here. That's why when I drag the lightness down there, totally going to black. And here it's just starting to darken. So this is obviously partially selected. Now. So how do you control whether it's fully selected or partially selected? These dots down here, these sort of control points here. And you can sometimes make this a little bigger. You can make this a lot bigger, I guess if you go like this. So sometimes it's helpful for you really wanna get in here and adjust this to sort of drag out on the window from the bottom left are the top right or whatever. I guess from the bottom left there. When you get that little icon right like that, then you can drag it out and you can make your window bigger. It just a little easier to see and understand what you're doing in here. So again, this little point here is the leftmost point, and this is the rightmost point in this is controlling sort of the color range. Now inside here, these points are used to control the feather. The distance between this point and the outer point. The inner point, the outer point is going to control the feather. So if I take an outer point and I drag it in, I'm reducing the range. So let's see if I drag from the yellow side and I start to pull in. You can see how I'm pulling in my actual range. Now, if I start to adjust these points here, the center points. So if you click just in the center on the sort of a grayish part there or this part here. I can just click and drag the whole thing and see how I am changing the whole range and making it move across screen. But if I click actually right sort of on the point itself, then I can drag that. And what I'm doing now is adjusting the feather. So let's take this point, for example. If I drag it out towards the outer point, you can see how it moves. And it sort of gets rid of that sort of feathered edge and starts to make it less and less of a feathered area, right? And you can even drag this past this point and then you'll just sort of get the weird edge there. Actually when you drag it, what it does is it just pushes the whole range so you see it's, you can't drag it passed, it's pushing the whole range there. So let me pull this in real types of I wanted to make a really thin range. I would pull in really thin. And so then now you're not seeing anything because I'm outside of the color range that's on this particular document. But if I drag this again and we bring it that there it is, there's my area and I can move it and select any color range I want. And then again to control the feather, if I want more of a feather, I can start to drag this out. I could start to drag this out. So these four points sort of control what range under whatever channel you are, range is selected. And then you can use this central points here to adjust the feather sort of that age. How soft is the edge? Is it a harder edge or is there a grad, more gradual transition between selected and not selected? Okay, so hopefully that helps you understand even more what's going on in here and how you can make your selections and adjust your selections based on color when you're working with a hue saturation adjustment layer. 20. Selections by Color Part 2: We've talked already about how you can use hue saturation adjustment layers to basically make selections by color and make color changes. Well, you can also make selections by color other ways in Photoshop, it's almost always the case in Photoshop where there are multiple ways to do things. So it's usually about just getting to know these different methods and figuring out what's gonna work best for you in a given situation. So in this video, we'll look at a couple other different ways you can make selections based on color in Photoshop. So let's take a look at this image on screen here. This hot air balloon with all these different colors. Let's imagine we wanted to come in and change the color of some of these panels. So I'm looking at this bottom ring here, which is this sort of deep blue purple color here. And so if I wanted to select this, we know I could try that hue saturation adjustment, but I could also do some other things. So up here underneath this panel here with the W keyboard shortcut, that's where by default, under the photography workspace you have the objects selection tool, the Quick Selection Tool, and the magic wand tool. Now we know a little bit about the objects selection tool in the Quick Selection Tool, but the magic wand tool is what you're going to want to use if you really want to make some selections by color. So I'll bring this over my image and you have this little icon here. Now if you want to change that to across here, you can hit Caps, Lock him at caps. Like trick is going to work with a lot of tools where you go with the basic tool icon, this little cross hairs that just let you see a little bit more precisely where the center of that is. If you're gonna make a click. Now when you make a click with this, it's kind of a sample, a color. But whether you're sampling a single pixel or many pixels is going to depend on this sample size up here. So right now this is set by two, a five-by-five average, if I went to point sample than it would be sampling a single pixel. But if I go back to that five-by-five average than it's sort of selecting like a square of pixels of five pixels wide by five p close long. And so really 25 pixels. It's taking the average of those pixels. And you can make this larger and larger sample size. So it really comes down to whether you're really trying to get one specific color or whether you just getting a range of colors within a given area. So I tend to leave this to some kind of average, so I will just leave it five-by-five or now that's fine. For this example here, I'm going to come down and I'm gonna go ahead and just click on one of these panels here. And when I do, you'll see it's making a selection. And now it's making a nice selection now of these individual panels here. So if I click on any of these, It's making a selection of that panel. Now, something that is going to come into play. I mean, control D to Deselect that. Something that is going to come into play is this tolerance for here, this tolerance up here. So this tolerance is basically when you click on a color or you just sampling that color, or are you sampling, arrange from that color sort of building outward and bringing in more and more similar tones. For example, if I set this all the way down to one, and then I come back down and I click something. You see it's only selecting a smaller area. It's not selecting quite as many colors as it did before. Now if I expand this out farther and farther, that range will start to grow. But another thing to keep in mind here is this contiguous checkbox. So let me check that off for a second. Let me control D and I'm going to check, wants me to finalize this number here, so we'll leave that one for the moment and then I'll come check that contiguous off. And now when I check this, you see how it selects even more colors. Before one contiguous was checked on, it was expanding outward from my selection. But as soon as I hit an area of colors, as it expanded outward that did not fit within the range, then it stopped sampling colors. So basically when you have contiguous set on, anytime it comes to a border and the border is outside the range, it's no longer going to sample out to other parts of the image. So let's just go ahead and we'll put this up higher now. So let me set this up to something higher. So we'll say 25 and contiguous is no longer checked on. So now when I hit it, you see it's really looking at a broader range of colours. And it's not just looking in this one swatch here, this one rectangle, even though it hits these borders, it's going beyond that and looking across the whole image and basically anything that matches that color range based on where I clicked and based on the sample size there. And based on this tolerance, it's going out and selecting all those colors. Now, if I want to limit it down to a certain area, so I'll hit control D to Deselect. If I turn a contiguous on, then suddenly when it hits an edge and things outside that age, like you have this white borders here. So he's white Borders basically stop it from going and finding this color over here. So a tolerance is important and contiguous is important. But then as I do this, all of these modifier keys up here that lets you select, you know, at your selections, subtract from your selection, there is all still work. So even if I had contiguous turned on, I could do something like hold down my shift key and then I could go in here and grab different panels. Now I think it was able to skirt skirt the bottom h here. And so it also went and hid and got this panel. But a lot of times that contiguous as I click, it's preventing it from sort of going beyond the edge, the borders. So I really am able to come in here and specifically select these panels. Now once I made this selection, I can go ahead and add a hue saturation adjustment that way or the way we did before and it's selection would be applied as a mask. But I could also just come in here and do other things like if I want to add a solid color fill layer, I could do that. And since this is already selected, since I had a selection when I select it and adjustment layer, basically what it does is it brings up a mask and applies at mass to your adjustment layer so that I could go ahead and I could add any color I want it in here. Of course, if you just add the solid color itself, you're losing any sort of noise that's underneath that image, any texture. So sometimes when you make adjustment like this, you will want to come in here and fool around with these blend modes. So if you do something like color, then you're gonna start to affect the color, but you are going to bring some of that texture through. So it's just about fooling around with blend modes and getting to know those and Photoshopped also. But with this sample tool here, this magic wand tool, you can't really go in and sample colors and make selections by color. Now there really are a lot of ways you can use this before. I'm just selecting this sort of one color range here. But of course, using that shift modifier, you can really go and start to add different colour ranges to your selection. So let's just say I wanted to create some sort of diagonal pattern, may be working out from here and starting to get these diagonal, ah, sort of square portions of the balloon there. So again, I could just have this tool here and it's not going let me sample from not down on this layer. So I'll come down over the layer and then I'm going to start clicking to make a selection. So all sort of start here and work that outward. So I'll click and of course I can adjust the tolerance of I need to. So let me just show you. I'm gonna lower this down, so I'm gonna put it down to something like 20 actually. And I'll hit Control Z just to undo that. And I'll select again. And so there we go. And I'm going to hold down shift. So I'm adding to my selection, I'm gonna come get this panel. I'm going to come get this panel. And of course, if I miss something, I could adjust the tolerance right, to emit something higher. But I could also just shift click again and sort of get that range that's being missed, right? So there are a lot of different ways you can use this tool again, come here, get that range when it misses something and I can start to build out a pattern. And of course, since I have this blue sort of solid color layer and I have the mask there, right? If I fill the mask with white, which is my foreground color, I'll do that now. All Backspace. Then suddenly I'm bringing in sort of that blue to this. Now it's not showing his pure blue because remember, we have the blend modes here. And so it's blending with the color below using this Color blend mode. But so you could go through and see your different options there. But the point is you really have lots and lots of flexibility and lots of ways to make selection with this magic wand tool. And I'm gonna show you another tool real quick. And I just want to show you how it differs from, differs from the magic wand tool. You may have noticed there when I fill things here and I made those selections, all the pixels were either being totally selected or not selected at all. There weren't any partially selected pixels when you use this magic wand tool, whatever you're doing up here, even with your tolerance, it's really, you're totally selecting a pixel or not selecting a pixel. We don't have those shades of grey, which if you remember, in Selections channels, they represent sort of those partially selected pixels, right? If you're looking at a mask or a channel, whatever. So let me just show you how other tools do bring that into play. So let me turn this off for one thing. I'm gonna go for one more tool here, how you can make selections by color. There are other ways, but this will give you a good base, and these are the ones I find myself using the most. So select if you want to select menu and color range. Whoops, I chose the wrong thing. Let's try that again. Close this. Let's go under Select focus area but color range. So if I do select color range, then suddenly I can come in here and make selections by color range. Now what you're seeing on screen now is in essence a mask which represents the selection would be made. And I think it's just loaded, whatever I did last, but let me come in here first. Let me show you. You can see the image up here in the preview or your selection preview. And then down here, if you have a selection preview can show none and you'll see what's onscreen, or you can start to see the preview of what you're selecting. Now how do you control what you're selecting? So I'm gonna come here and I'll keep my image here, but I'm going to put a selection preview here. I like to go grayscale that because that's just giving you that gray-scale mask we're used to seeing. So you can come under here. And you can choose a shadows, mid tones, highlights. So you can also just choose a tonal range, right? And so if I choose shadows that I have these two sliders here, and I can make it select a bigger range just by clicking out here. Now it's going out and collecting more and more of the dark areas and making that range bigger and bigger. And you can see how this range basically goes from black all the way over here to white. So if I go all the way over, it's getting basically all the tonal range. So this range slider is basically the tonal range of brightness luminosity of your image. And you sort of chip select on here. How much of that range do you want to get? You know, how much of that range are you selecting? And if I, if I went from shadows, the highlights here, since I'm in the middle, this should flip on screens if I went from Shadows and I went to highlights. Now you see how it's selecting the highlights all the way down, sort of towards the mid tones, right? So you have all these things where you can make adjustments. And then of course, the fuzziness slider here would sort of be like your, your feather, right? So if I take that FET, that feather all the way down, that fuzziness all the way down, we see that we start to get a hard edge. But then as you pull it out, you see oh, how it starts to feather. And again, you didn't have this with the magic wand tool because now we're starting to get sort of those partially selected areas that are gonna be partially transparent if we turn this into a selection, okay, so that is where you can do tonal range. But then if you come up to the color channels, then suddenly you lose these sliders here. Then basically you're just telling it, select all the blues for me, select all the reds for me. This can be useful, right? But maybe hue saturation gives you a little bit more flexibility of moving that color range around. So this is just where you get to know different tools. You get to know the options. And then he can really figure out what is the best tool in a given situation. Now with color range, you also sometimes they just want to sample the color. And when you do that, you're basically then taking full control. So it's a little hard to see. You can make a selection by clicking right here on a color within this little preview, ha, excuse me, Preview menu. Now that's a little hard to see. So I'm just gonna make this be the selection for a minute. And this one, if I set it to none, then I can start to see through and I can start to see my image. So let's just say I want to pull the sort of the yellow from this image. So if I click on the yellow, then you can see it's basically made a selection of those yellow colors. And I can also just come down here now and changes back to my mask if I want to see the selection, right? And then you lose the range slider because of course we're no longer talking about just the tonal range. We're talking about yellows now, right? So that's why we've lost his tonal range. We're talking about yellow color. And so now we have this fuzziness slider so you still can adjust the feather, right? In this instance, sort of pulling in that range, you know, it's pulling in your range of color. And as you take it out farther, you're getting more and more of that yellow range. Okay. So understanding how these siders condense, this differ slightly based on what you are choosing here. That can be important. So I'll leave it on sampled colors. And so you go ahead and you could do something like that. And then of course, whenever you click OK, then it takes what you've done in it turns it into a selection. So you could turn that selection then into a mask. You could turn it into a mask over top of an adjustment thing. So I've been doing things like solid color. So if I said solid color and I say I everything that was yellow, I want to be green instead, I could do something like that. And of course, these areas here, these ones in the center of basically we're all the way selected, these ones here, if you look at a mass, those are really partially selected. So if I click over on the mask, those are partially selected. But again, you can combine techniques. So remember that trick I showed you before, where if you come on your mass in your painting and you have clear black are clear white. They, they will be protected if you go into overlay mode. So if I were to paint in overlay mode using white, and I'm clicking on here, I'm not going to be a spill over right directly to the side. Because look at how that black area is staying protected. I could go like that. And then suddenly I'm coming in here. And if I click off of this, I'm pushing all these all the way to green. So the point is just as you build the skills and this knowledge, you really can start to combine tools, combined techniques, and then have more and more creative freedom. In terms of the changes you can make, end more and more. You'll be able to do things quicker and become more efficient. Which of course that's what photoshop mastery is all about. It's really knowing the tools and then not being limited in what you can do and the time it takes to do that. Alright, so I hope this was helpful and I will see you in the next lesson. 21. Challenge Exercise: Car Color Challenge: It's challenge time again. So if you go to the project and Resources section of this course, you can download the challenge files and in there you will find this car cut out, challenged a peg. Now for this challenge, I want you to use any of the select by color methods you've learned in this course to make a selection of this car based on color. And then go ahead and change the color of the car. Now if you want to show your results, you can see your result as JPEG and under the project and Resources section again, you'll see that green create project button and you can share your result, share that JPEG. Alright, good luck. I look forward to seeing what you come up with. 22. Challenge Solution: Car Color Challenge: Okay, and your challenge exercise, you were tasked with changing the color of this car. So how do you do so this is one of those instances where in this case, because the color of this car naturally within his photograph is so different from the background. In other words, you have all these greens in the background, but in the car you really had these red tones. This is definitely a case where you would want to make a color based selection just because it's going to be much quicker. So let's do something like a hue saturation adjustment. Because we know if we do hue saturation, we know we can then use this color picker here. So I'll just grab this color picker. I'm just going to come in and click Sort of on these red tones here. And then if I want to see what's being affected, I can drag down the lightness slider here. And you can see just that easily. I could come, I could push this to a black car. You could start to push this to a white car. And you could do things where you fool around with the saturation, other things here. But really what we wanna do is just come up this hue slider. And then we can really go back and forth and choose what color do we want this car to be? So maybe you want it to be something like a pink car like that. And there you go in no time at all. You've been able to make that adjustment very, very quickly. Now, I don't know if you can see, but when I turn this on and off, you see that I do have a little bit within this photograph here were the color tones that I was targeting. Did Target and other part of the photograph outside the car. Now I really do not want that. So let me zoom in here a little bit just so we can see the area I'm talking about. I'm talking about right here. If you watch that tree area, you can see that there is a little bit of an adjustment happening there. But if you have a situation like this where you do have something that's still being affected beyond area you intended like this right here. As long as you have separation between the object you selected and the other thing here, or the object you intended to select and the other area here. It's not a big deal because you can easily get rid of this area. Just remember you still have this mask that's affecting what is being affected by this Adjustment Layer. And right now it's all white. So all I would need to do is come in here, sort of draw something around that area, don't want affect it. So this area here, and then was black as long as black as my foreground color, I could just click right on that mask, make sure I have that mass collected and then Alt backspace, and suddenly I've filled with black there and suddenly that area is no longer being affected. Now if I turn it on and off, I may notice that there's a little bit still down here, right? So if I turn it on and off, you can see that there's a little bit I still missed. And so I could come in here, same sort of thing. I could grab black and I could paint with black to hide whatever areas I want to hide. Now, quick pro tip for you. Let me just zoom out a little bit. Because you can run into these areas where you have similar areas of colour in other parts of your photograph that you did not want to select or did not want to effect. That's why I often, I'll throw this out just so we can walk through this again. When I'm doing a selection like this, I will start by making a rough selection basically around the object I want to target. That way I'm taking things like all those trees for the most part, except for the edge right by the car. And I'm going to immediately have them so they, they cannot come into play. So I'll select around my car. And now if you have a selection like this and now you go to do the adjustment layer. Let me just go ahead and apply hue saturation adjustment again. And then we'll see by default it added a mask where I had that rough selection. So now I'm making this hue saturation adjustment layer. I have only targeting and this area which is already sort of zoomed into the area want, right? So now I can make this adjustment. And so now within that area, I'll do the same thing where I just grabbed my little color picker here. Click on the color, and then come in here and start to play around, change the color of that car. So again, we'll pull it into something like that pink range. That looks good. And again, now if I turn it on and off, you see nothing up here is affected. It's just the area is right around the car that we're part of that selection that are part of this mask here that I have to pay attention to. So just combining techniques like this, we already know you can make a rough selection with something like the Lasso Tool. And you can come around something like this and basically have it around most of an area. And to refine it further, just combine it with another tool. Now we're combining this initial mask here. And we're combining this mask with the farther selection of our color selection. And that really lets us get in there and get precisely on the area of the photo that we did want to effect. So just remember all the tools in your toolbox. Don't be afraid to combine multiple techniques as a strategy to really get in there, do things quickly and make sure you're targeting just the area of your photograph you want to target. 23. Select and Mask for Complex Selections: In this video we're talking about Photoshop select in masked tool, now the selective mass. So it was a little bit newer in terms of Photoshop Tools. But over the years and a Photoshop CC, they have really advanced his tool and made it a really amazing tool. Now like all tools in Photoshop, it is not the dual solution for every single document, but in instances where you have a model with flyaway hair on a relatively solid background or something where you're trying to select for something that has that fine edge detail, but still it's distinct enough from the background. It is really an amazing tool. I'm going to show you what I mean. So look at this model here. So let me just go ahead and zoom in for a second. So I'll come up here and grab Z for my zoom tool, and I'll just zoom in. Now look at all these fly away hairs and then look at the fly way edges of this coat here. Imagine trying to select all this manually or even using something like the Quick Selection Tool, the objects Selection Tool. Those tools are just not gonna do it. Good job. That's not going to be something you can select it all, it just isn't going to work. But with the select and mass tool, you can really in a relatively short amount of time make an amazing selection. Even something like these complicated fly away hairs. So this is where the select and mass tool is going to be a lifesaver. So let's just walk in and see how this works. So we'll go ahead and fit this back, this screen here. Now I'm going to cut this model out and I'm going to bring her over onto this new document. So it will just come back to this in a second. Actually, I'm gonna go ahead and I'm going to grab this and I'm just going to pick it up with my move tool and drop it over here. And then I'll go ahead and I'll make a copy of this so it's no longer a background layer and I'll just bring it up above. Okay, so we're going to cut out this model and we're gonna put it on this background because a lot of times when you're cutting out a model, you're going to be moving them to a new background, okay, so deselect and mass tool, how do we get to the select and mass tool? Well, there's a couple of different ways you can get to deselect the mass tool. First of all, you can just come up and you select menu and you can go to select and mask, and that has an alt control. Our keyboard shortcut that would be on PC, on Mac, that would be option command plus R. So you can go, go through the menu. You can use a keyboard shortcut, or if you have any of the selection tools, the, the marquee tool, the lasso tool, the objects selection tool, with pretty much any of those, you're going to see this select and mask option on screen. Now, you can also start with a selection and then go to select and mask. Or you can just immediately enter in to select a mask. I'm just gonna go ahead and click on selecting mass. Now, I will go ahead and enter into selected mask mode. Now what I'm seeing on screen here is affected by how this View menu is said setup. So this View menu gives you a couple of different ways you can work in here within select and Mask Mode. And we'll go through those a little bit as we go through this tutorial. But so as I drop it down now we can see I mean onion skin mode. And so basically since I started with nothing selected, if I have this all the way to 100% transparency, I'm not seeing anything because I have nothing selected. I'm just seeing through to this background layer now. Or if I lower this down, then suddenly it's going to start to show me that layer that I'm working on. But I don't have anything selected. So as I move this to the right. Nothing is currently selected. Now, within the select and mass tool, you have a number of other selection tools which you might be familiar with that are built in here. So there are a number of other tools that work along with this Refine Edge brush. So we have in here, let me just go through them real quick, quick selection tool, we have the Refine Edge brush, we have the brush tool, objects selection, lasso, and then your pan tool, your hands full, and then your zoom tool. So these just give you ways to work around in here, the Refine Edge brush here, this one is going to be crucial for getting those fine hairs. But let's just start by working with, let's just say our objects selection tool. So with the objects selection tool, it works just the way it does outside of this selector mass dialogue. So with the object selection, I can work in lasso mode mode or rectangular rectangle mode. I'm gonna get my transparency to about 57%, just so I can see here. And so I want to select this model here. So I'm just going to drag a selection with my objects selection tool around the outside. And it's gonna go ahead and make that smart selection. So look at that off, they'll drain off the bat. It gives us a very good starting point. Just the way if we were outside a Photoshop and we use that objects selection tool. But now if I take this transparency, remember this is the original. Now as I go to the right, all the way through, right, I'm only seeing what is selected. Then I can see through to that background layer to see what my final result would be once I have my completed selection. But so if I zoom in here, you'll see the problem. It's selected a reasonably well, but when it comes to the fine edges here, it really just has a hard edge. It hasn't got all those stray hears. It hasn't brought all those stray hairs in. It doesn't hasn't done a really smart selection at the edge. And that's where this Refine Edge brush is gonna come into play. But first, let me just go through a couple of these other view modes to really show you what I mean about those edges. If you go to black and white, this is just like the mask that's being created. So if you know, on a mask layer, white is going to be anything that you can completely see. Black is going to be hidden. And then all those layers of the gray in-between are going to be varying levels of transparency. So we can see right now we just have a hard edge. It's either totally you can see it or you can't see it and it's not really picking up any of those hairs. Now besides onion skin mode, you have some other modes in here. I won't go through all of them. But in overlay mode, you can set this to whatever color background you want. So maybe I'll pick something like some kind of blue in here, something like that sort of bluey purple so that there. Or you can also just come in here. And by default they have, you can view it on white, you can view it on black. That, excuse me, that's the mass there. There's black there on black. So I'll go ahead and I'll choose overlay mode. And again, you're just trying to pick whichever one of these is going to give you the best work area for whatever you're trying to do. So sometimes you'll go back and forth between these and the more you use this tool, your figure out which of these view modes you like to see. Now with the, just the way you had in this onion skin mode, when you're in any of the white working on white, on black or this color overlay, you can take it all the way to the right. And again then you're just seeing everything that's selected. And if you start to bring this opacity down, then you're starting to see back to that original layer. So you can see as I drag this slider back and forth, that I really am missing all of these really stray hairs. Okay, so I want to bring this opacity down just a little bit so I can see those stray hairs just as a guide for when I'm now going to go and start to use this Refine Edge brush because this is where the magic really starts to happen with this selected mass tool. So with the Refine Edge brush selected, you can adjust your brush size. You can change this cursor to plus or minus you're adding to your selection. We're subtracting from it. We want to add to it brush size, you can adjust with your bracket keys just like you can outside of photos, outside of select amass tool in Photoshop, that's very helpful on keyboard shortcut. So I'm gonna make my brush reasonably small. I find that if you make your brush too big, it's going to bring back more areas and select too much. So it's best to be somewhat conservative when you're doing this. And then I'm going to come in here. And what I'm gonna do is I'm going to click on an area of the hair that's already selected. But then when I see stray hairs like I see here, I'm going to start to then click and drag out over those areas and you see almost like a magic, it's going to start to find those hairs. The more I click and drag, It's going to start to find more of those hairs, more of those areas that are missing from the selection. And it's going to start to bring them back in. So you sort of work your way around the edges. I mean, you can even click and hold for a fair amount of time and go. But every now and then I'll release my mouse button and then I'll sort of start and work my way in. Now let me, let me zoom and zoom in a little bit. Because you'll also see these areas in here were the pink color is something that I don't want. And again, with this Refine Edge brush, if I click in the area that I do want selected insulin start to work out, you'll see the weight. It's starting to decontaminate these areas. And what it's doing is it's building up your mask, which is controlling your selection. And it's starting to make some of these areas fully selected. It starting to make other areas semi, semi, semi transparent. And it's really helping us start to go in and make a really smart selection, as well as getting rid of some of these pink contaminated colors, these colors that we don't really want in here. So let me just real quick go over to the mask again is black on white and look at the selection we're building now. So you see what I mean now we even have somebody's gray areas that are partly selected. And so going from that hard edge that we had before, so if I zoom out a little bit, we still have the heart age over here. But look at what the refind H brushes letting us do. It's letting us Bill build a selection that's way more complicated than we could ever just manually do by ourselves. But now with this Refine Edge brush, it's really using a smart algorithm. It's going in on its own and you're sort of telling it where the edge is, but then it's building out and finding all those other things that you want to be part of your selection. And again, this isn't like a miracle tool. It's not going to work if you have an edge where there's not really any difference of all air, any difference at all between your background and your foreground subject, there has to be some sort of distinction there. But if there is, It really is great at going in and picking up these fine details. So what I'll do is I'll just come back, I'll get this Refine Edge brush. And again, I'm just going to start working the edge. So I'm just going to click and drag out. You're just clicking just inside. I find works best if you click just inside an area you have selected, but then build out to the area where you want to refine the selection against the Refine Edge tool. So you're going over the areas where you feel like this selection needs some refinement. And it's really starting to pick up all these stray hairs, as well as take care of some of the areas where the background is there and you don't want it to be there, that pink color in this case. Although you could do this with a subject on a different color background and it would do the same sort of thing. And so you're just really coming in and you're working this selection. And the more you use this, it doesn't really take a lot of time to really come in here and make what really is sort of an amazing selection when you compare it to what you could do manually without something like this. So again, I'm going to grab this pink area here and I'm going to work down. And again, if you have an area where you feel like you need to zoom in, that's why they have these other tools in here. So you can get in here even closer and you can zoom in and you can try to get all these areas as precisely as you need to. And again, pan tool, I'm just holding down spacebar. You can grab this, but you can also just hold down the spacebar to pay and around. So you can see here the initial quick Selection Tool. Miss part of the finger here, miss this finger entirely. This is where you have these other tools in here and you can combine these tools. So this is just a plain brush tool. So if I came to this brush tool and hardness pretty hard, something like 85. Since this is a relatively defined edge, then you can come in here and you can do things just like painting back in. So I'm just going to come in here very carefully and sort of paint back finger here again, if I were to go like this and go too far, and I could just hold down the Alt modifier key option on the Mac and is, go ahead and paint that away. Now again for something like the finger, I don't think I need to paint over that whole thing cuz I could just grab my objects Selection Tool and drag a rectangle around that. And then it's gonna go and do the work for me and find that finger. So you start to see how powerful this is and what a great dot drop it can really do at finding these edges. Now if I drag this back again, you'll see that it's not getting all the edges here because I have not done this code yet. So I'll sort of set this at an in-between value again. And then I'll just keep working around. So I did her hair. Now I'm gonna do the same thing for this garment, this coat that she has. I'm just going to start to work the edges. So again, Spacebar on a need to pan and then click and work these edges. Click, work these edges. Spacebar when I need to PAN, Click, work, these edges, work. These edges. Click down, work these edges. Spacebar when I need to sort of move everything, paying everything. So it really allows you to work pretty quickly because I'm going in here and again, there's no way there's no way I'd be able to do this and to make this kind of selection without a tool like this. Alright, now you see now that there is another case where a pink area came through the initial selection. I didn't want to. So maybe I'll just come to my Quick Selection Tool. I'll hold down the Alt key to minus it. I'll just click right in there and then boom, gone. Just like that, just that simple. So again, this area should be selected because that's part of the inside of the selection so that one is selected, but you can see the other side of the coat Over here. I still need to work this side. So again, I'll just grab that Refine Edge brush again. And again, you can make it bigger if you want to try, but if it's too aggressive and it's bringing back more than you want to. Just keep adjusting the size of it, trying out, a lot of this is trial and error, trial and error and practice. And you'll start to figure out what settings work well, based on your images, what you can get away with, what you can't get away with. And it really is a great tool. So again, I'll just pan down. Start to work this H here. Click and drag. Start to work this edge. Start to work this edge here. So again, look at that. There's just no way you'd be able to do something like that without a tool like this. Now, I'm gonna go ahead and zoom out. Now I can all fit, fit to screen there. And let's see how I've done with this. So let me drag over. And you can start to experiment around and see if there's anything you're missing. But really, I think very quickly that has done a pretty good job. Obviously, you can come in here and you can start to make little adjustments if you need to. But I think that is a pretty good job. Now I'll just go over a couple of these other options real quick. So once you start to adjust these sliders, you really want to have this set to all the way to 100%. Because now you're looking at 100%, what you've selected on whatever color background you want. And if you don't have this selected to 100%, then you're still seeing the background and you're not going to see an accurate representation of what these sliders are doing. So you really need to have this a 100% once you come in and start adjusting the sliders. So let me just zoom in on her hair a little closer. That's maybe closer than we need to. So let me zoom out a little bit. And let's just play with this radius. So as I drag this out and then release and drag this out and release, you'll start to see it's picking up a little bit more. What this radius basically does is you're basically saying to it, let me just go over here. This white area that's selected, it's basically saying start with my selection. And then as I come in and I up this radius, I want you to look out farther and farther beyond my selected area and see if there are other things that you think should be pulled into the selection. So you can experiment with this, but I will say it's easy to go too far. So it seems like it's working fairly well in this instance here. But if you start to have it look a little funny, you may have gone too far. So again, it just takes experimentation. So you can come in here, experiment with this radius and figure out what is working the best. Now this area right here, I don't know whether that's something I can pull back with a radius here. So you see right there, it did pull back some hair that I was used at losing before. So let me let me zoom in on this area. So this area right here. If I take this radius down, didn't really get that. So I could come back over with the feather, the Refine H tool, but also just by up and the radius. I can pull some of that back in. So it just comes down to making sure you're not going too far with some of these little options and some of these sliders. And again, you can go back in with these tools as well. So it's just about defining. Now, look at here, look, look at what's going on down there. So if I take this radius up, you see, it's bringing that back. But this is getting a little funky. This is getting funky. So this is just comes into play. This is what I mean by saying it's easy to go too far. So you've got to pay attention to what's going on in the whole image, not just one area. And so here's a case where instead of using that radius tool, you also have Smart Radius. And when to use smart radius, it's sort of attempts to find a rate radius and do that for you. So you can try all these different settings, see what works, see what doesn't work. But so instead of using that radius, I'm just going to come back here to my Refine Edge and looks like maybe I missed a little bit here. So I'm just going to manually go over that and I can pull some of it back. So that's a much better solution in this case than trying to use this radius slider because its radius is working on everything. Whereas when you come in with these tools like the Refine Edge brush, you can go in and work one area at a time. All right, so I will go ahead and I will zoom, get fit the screen, I guess again fit the screen. Other options he hears I'm not gonna go over these two much smooth feather contrast Shift Edge. You've probably done those with selections before, so you can work these and see if they make any different with your selections. Sometimes they're helpful, sometimes they're not. The one thing I will mention is decontaminate colors. So let me, let me zoom in here a little bit. I just shoot, just refine the edge there. So control Z to undo that last thing, zoom, zoom tool, z to zoom in. So I'm going to zoom in and I'm going to click on and off this D contaminate colors. And you can see the way it's hard to see, but at the edges here, because it was on this bright pink background, you sort of get a little bit of pink colour cast at the edges. And when I hit decontaminate colors, it really takes some of those areas and it gets rid of that color casts and it really builds back some of the volume and her hair here. So you can check these on and off sometimes I like it, sometimes I don't like it. It just really comes down to sort of your personal tastes and it depends on the image that you're working on. So as with all of these things, I think it's just good to experiment around, see what's working, try different things, and then just pick whatever you think is working best as to whether you use it or you don't use it. You don't use it. And then there's also an amount slider here. So if I feel like that's a little heavy-handed, I could bring it back a little bit and it's still bringing back some of that, but maybe not quite as aggressively as before. So pay attention to these different sliders, fool around in here. And then again, make sure you have everything set to a 100 at first before you start with the sliders because you want to see how it's affecting your selection and not any backgrounds you're seeing through too. And then when you're done, you can come down here and you can output a couple different ways. I'm just gonna output this to a new layer with a Layer Mask and go ahead and click OK. And then let me just go ahead and fit the screen again. So z for my zoom tool, click that, fit the screen button and look at that. So let me just go ahead and turn this on and off. And so actually here's my original. Let me bring my original up on top for a minute. So here's the original. And then very quickly we were able to make a really nice selection. Look at how we still have this age detail in the jacket that she's wearing. Look at how we really still have this edge detail in her hair. You would not have been able to do that without the select and mask tool. But the select and mass to really does make it easy as long as you have an image where you do have some sort of simple background. And there is a distinction between the area that you're selecting in the background, the subjects are selecting in the background. So in other words, it's not a miracle tool, but if you have a model on a clean background, or it could be an animal with fur on a clean background. You can't come in here and fool around with this liked amass tool and get really great results. Now if I was going to composite in her in here, I would still want to do all the other smart things you're doing when compositing to make it fit better. And so maybe I would grab her and I would just drag her over position or maybe on this side. Then I would see the see the way that she has the soft edges at the edge of her coat. So the depth of field is not such that the background would then be in focus the way it is now because you can see the edges of her hair and stuff on this side, those are starting to fall out of focus. So this background would definitely be out of focus. So maybe you would come in here and add some sort of blur to this. So I'll just add a little blur because this background would not be fully in-focus. So maybe it would be something more in line with something like that. So I click OK. Then also she would have maybe a drop shadow. So you could go ahead and you could click on this. And then I will just add a new layer, Alt backspace, actually D for that and then Alt backspace to fill that with black. Now I can see that I have some me, let me fit to screen refers second here now I see I have some stuff on the right side of the screen I gotta get rid of. So let me just go ahead and delete to get rid of that. But so now I have this background in between my subject and whatever. So this could be a drop shadow. So you would position this wherever you wanted to. And then of course you would want to some sort of blurred because this is going to be much softer. So again, I'll do a Gaussian blur. There are different types of blurs you could do here. But so maybe I'll take it down to something like something like that. And then of course this would be much, much more subtle. So again, just fooling around in here. You would do these little things to make your final composite work even better. She, for example, is maybe a little bit more sad, less, she's currently a little bit more saturated than the background, I think. So you could come in here and you could go hue saturation. I'm going to add this. So there's, there's a clipping mask, so Eclipse gets clipped Just to her. So now you can see if I were to totally desaturate her. So we don't wanna do that, but maybe just a little bit so she matches a little bit better with the background. Okay. We'll go ahead and close that up for now. And then of course, maybe you wanted to do some sort of hue saturation or color adjustment on the whole image to make it work a little bit better. So let me just do another hue saturation adjustment layer. And let's just say the whole image. Now we're gonna take the hue and we're gonna push it just a little bit more to the cool side of things. And then we're gonna take the saturation of the whole image down a little bit, will make the whole image a little bit brighter. So again, we're just doing all these things now since this is now going to be something that affects not just not just her, but then also the background. So we're starting to add these little effects that make it more realistic. It makes it seem a little bit more like she is in this background and was in this background. So that is the select and match tool inside of Photoshop. Experiment with it, play around with it and get to know it. And I hope you end up loving it as much as I do. 24. New Select and Mask Improvements: In this video, let's take a quick look at some new improvements that are selected mass tool that we just talked about. I started recording this class in October of 2020. And since I recorded that initial a select and mass tutorial, there actually are a few improvements to the selected mass Tool, and I want to make sure you have the latest information at your disposal so it can help you make even better selections and even a faster amount of time. So let's take a really quick look at this. So under the exact same thing as before, we're just going to jump in here. So I'll just go over select and we'll go to select and mask and we will jump into the Select and mass dialogue. Again, different ways you can see what you have behind your image here. What's this showing onscreen? So I'm just gonna set it to white. And again, use this opacity slider. I can just start to see my subjects, but of course I'm not going to fully see anything until it is selected and I have some sort of selection. So what I'll do is I will just grab maybe the objects selection tool with a rectangle and is dragged that selection around her to once again make that initial selection. So I will tell you that this tool is mostly the same, but there are just a few notes, noteworthy changes basically to noteworthy changes that I'm gonna talk about quickly, just so you have all the information to help you. And the first is this free fine hair button right here. This is sort of all one-click AI artificial intelligence. And let me just show you now what you can do with one-click inside of this tool. If you just click that reifying hair button, watch what it does to your hair. So look at that with just one click. It went in there. Indeed, all of that work that in the last tutorial I was showing you, you need it to do with this Refine Edge brush. So photoshop teams continues to get smarter and smarter with his artificial intelligence. And then we can, when it can save you time, take advantage of it. So pay attention to this refine Here button option that you now have within the selected mass tool. Now of course I would have to go down in here and do all the other things like bring back things like that finger and stuff. We did that in the last video. So I'm not gonna do that. I'm not going to work the edges down here with Refine Edge brush, but of course you would do that just like you did before. Again, you can refer back to that other selected mask fit tutorial, but it's the same thing. So all the basic same idea. The one other change it's in here is you now have this refind mode dropdown that you did not have before. And so basically this gives you two different sorts of spaces you can work in and its color where and its object to wear. And if you click back and forth between these, you may notice on screen that you're actually starting to see slight changes. Now usually this is going to come into play once you've used the Refine Edge brush. So let me just go ahead and start to, I'll do a little bit at this edge here. So I'll come around this a little bit and start to bring back some of this coat detail. Maybe I'll do a little bit on this side as well. Again, I'm not gonna go into too much detail here, but now if I go back and forth between color aware and objects to where, let's see if we can see some differences on the screen. Again, it's gonna depend on the image, but you can see how there's a shift, there's color aware. Now let me click over to object to where we'll give it a second. And we'll see there is a subtle shift there. So basically these two, you know, whether you have it clicks on this one or this one, these two modes work slightly different. When you're in color aware mode, it is really using sort of those color differences between the edge of the selection you're working on in the areas just outside of that selection. And it's using that color information really to control the artificial intelligence in what it's keeping and what's throwing away. So that could be helpful in, might work better on images where you really do have that sharp color difference between your background and your subject. But there are other times when it's going to be better to use object aware in the object away or mode, instead of really focusing on color information, it's focusing on contrast. So sort of the, the brights and the darks that contrast between those where you have a hard edge, where it's a softer edge. So you can go and back between these two. Now it's not always obvious which one you need because a lot of times when you're talking about an image, it's going to probably be a mix of colour information in a mix of sort of contrasts at the edges. So it's usually not going to be one or the other, so it might not always be clear which of these to try. So I think it's always good just to click back and forth. So if I go over to object to where in this case, I don't think object aware is doing quite a good as good a job. So I'm losing some of that information right there. But if I go over to color aware, because this does have that sharp pink background, it really is doing a little bit better job of with the color aware button checked up here, I think. So it's a little bit like this. Decontaminate colors which you can also still use. But again, just one more thing you can play around in here. And then everything else, all these other sliders and everything that all works just like it did in the past. So the big updates, again, this refined Here button really can do a lot of work with one-click. Again, I don't think it's always perfect. But you can see with this image here, I did nothing in terms of touching up this hair and look at what a good job it is done just without one-click. So again, refine Here button and then just fool around going back and forth trying to color aware mode vs. the object to wear mode. And it's just a case by case basis. See what's working, what is working best, and gives you more options to try. Ok, thanks for watching this video. I'll see you in the next lesson. 25. Making Selections using Channels: Another way of making selections inside of Photoshop involves using channels. And this is something that's commonly done for something like sky replacement. If you want to look at a landscape image and drop it a new sky. And so if we look at this image right here, the sky area on screen is a lot brighter than this background here in terms of luminosity whose brightness values. And this sort of makes sense for landscape. Landscape photography. If you think about the sky is usually going to be brighter than the foreground elements themselves. And if you know anything about channels, you know that really channels or just sort of a luminosity mask, sort of a representation of those different color channels. What are the brightness values? In other words, if there's not gonna be any of a certain color there, it's going to be white. And then you're going to have the darker areas where there actually is color or dark tones there. So I think this is best shown through a couple of examples. So I'm gonna start really quickly just by reminding you something that you probably know by now. So I'm just going to draw a selection onscreen. And of course, if you make a selection inside of Photoshop and you save that Photoshop selection, whereas the selection go to that selection goes to an alpha channel and you'll see it in your channels palette. So I'm just gonna go ahead and select, and I'll go up here and choose Save Selection. So I have selection and then Save Selection down here, and we can call this whatever. So I'll just give this a channel, a name of example, great name, right? So we'll go ahead and do that. And it gets in, you see that little checkbox to get saved to a new channel. So if I go here under my channels, I can see now that I have that selection, I can hit control D On my screen to de-select. That would be Command D on a Mac. But then if I control click or again Command click on a Mac, you can re-select that channel. And so you see it's selecting all the white because on a channel like this, It's the same as if you were to add a mask. What happens when you create a mask in Photoshop? You have this black and white representation, which can also have shades of grey. And obviously anything that's black is going to be hidden. White is your actual selection areas that would then show through. And then shades of grey have varying levels of transparency as they move from black to white. Okay, so that's if you save a channel, but let's turn that off for a second, and let's just go and walk through the different color channels here. So we, we go to red here. So let me just click on Read. And so there's our red channel, there's our green channel. And these are, this is our blue channel. So again, these are just grayscale representations of the different channels. So in essence, you already have the beginnings of a selection in a mask here. For example, if I were to just control click on the blue channel, I'm actually loading that as a selection. Now what am I loaded now, you notice that the white part, that lighter parts or the sky part. So if I wanted to inverse this, I'd be selecting Sort of the darker areas. So I'll hit control shift I to inverse that selection. And I'm just going to come back on my layers here for a second. I'm going to add a new layer. I'll turn off that background layer. I can select any color I want. I'll choose something like this blue here. And then I'm just going to fill with blue. So let me try that again. They didn't get my blue, blue. Okay, now I have it as my foreground color. So I will just do an Alt backspace to fill with that color. And I've filled now based on a selection that was a channel. Okay, so this gets us partway there. If we were gonna do something like sky replacement, I just wanted to show this as an example so you can see built into Photoshop, you already have channels that are grayscale and in essence, something you can make a selection out of because it's just like a mask, it's just like a saved channel. Alright? When you go and save a selection, it's just like a Save Selection. So I'll turn my background back on. I'll go here and I'm just gonna jump back over to my channel. So I'll jump back over my channels. We don't need this example one, I'll throw that away. One quick note on channels. You should by default see them as these grayscale representations. However, if I come up under here, under Edit, preferences interface, it's possible that these can be turned to show and color and you see how I do that, then suddenly you're seeing them with the color representation now would work either way, but this is not as useful. I feel like when you have these color, colors actually showing through, I think that greyscale and representations. And that's how our brain is trained to think of these Mask and selections, right? We're starting to understand how it all fits together. It's better to have this turned off. I find that when you just get these gray scale representations, so we're going to leave it like that. So if I were to try to isolate the foreground from the sky here, what I would want to do is just go through these different channels. I'm looking for the channel where there's the most contrast between the elements I want to select and the elements I don't want to select. And so that's going to be the blue channel here. And a lot of times I find that it's the blue channel, but it's going to depend on the image. So once you have that channel, I don't want to screw up my original image. And if I start messing with this blue channel, which is part of what's making up that RGB composite final image we're seeing on screen. I'm going to screw that up. So I want to go ahead and make a copy of this, which all you have to do is drag it down to this plus, which is for a new channel. And it's gonna create a copy of that channel. So now I'm in here and I'm working on the copy of the channel. So I can do whatever I want here so I can access all the Photoshop Tools. So I'll just hit Control L to bring up this Levels adjustment. And so what I wanna do is I want to start to bring in the black point because I'm trying to make all of that darker at the same time a bringing in the white point. Because I want that sky to start going to white, right? So you can make a Levels adjustment to start to push it further there. I'll go ahead and click OK. Now, to continue to work on this, I'm now going to paint directly on here with black and white. Again, we want to push the areas that we want kept completely to black or white. This is going to end up being reversed if I want to make it be something a mass that will show the foreground and high this guy, because right now it's going to show this guy the, show the sky and hide the foreground. But we can flip all of that once we're done. So right now I'm just gonna keep working on this selection. So I'm gonna grab my brush tool. Something that's crucial in here is going to be working in overlay mode. So if I'm painting in overlay mode, and I start to paint all this here because I want to push it to black. So I'm painting here, oops, Control Z because I started to paint with white. So anytime you have a hit D on your keyboard, it will bring back white and black as your foreground and background colors. But then you can use the keyboard shortcut just to flip those. So as I'm doing this, I'll usually have a finger on the X key so I can jump back and forth between painting and black and white. So I'll start with black. And again, with that overlay mode set, I can start to paint to make sure all this goes completely black. But if I paint up like this, it's not going to completely spillover. Now you see how it is spilling over a little bit because there's some gray in here. So maybe I would need to push it a little farther with levels first, right? Or I'll hit Control Z a couple times to undo. I can also flip my brush and I'll start painting here. And you can see that I do have enough of a hard edge here that's close enough the black that it is protecting me from painting down onto that. So again, flipping back and forth. So now I can paint here and I can't spill over into that black really. So that's where the overlay mode is just so helpful because it prevents you from painting into the other area. Now on the tree there, I'm hit Control Z for a second. You see how I started to lose more of the detail in the tree that I wanted to. Let me show you something else you can do real quick. You can also go image, apply image. And basically what that's gonna do is it's gonna push your brighter tones even brighter, but also pushing your darker tones even darker. So if I hit Apply image, you see how that sort of meet all this, fill in a little bit more. And then some of them are white areas got brighter. So you can try that a couple of times to, I'll go ahead and click OK. Then I'm going to come back down here. And I think I will hit X, bring up black and one with my black selected. I'm gonna go up once over this tree and I know it's pushing some of the areas outside to a little bit more gray, but that's okay. I'm just trying to establish that tree because now if I hit x and I come back out and I start painting with white again. Now a protecting enough detail on my tree that I can go over it and still have those branches sorta selected. And so when you do a selection technique like this, you have to watch in your final thing to make sure you don't have halos or funky things going around. If you have something detailed like this, like a tree. But let me zoom in for a second, look at how detailed of a selection we're making there. Think about trying to do this with another tool in Photoshop. You just, you just couldn't do it. So this is, we're working with something like Luminosity values. And coming into here under a channel, you can really get some amazing results. So I've basically now managed to push everything to black or white, which is what I want. I wanted either completely selected or I don't want it to select it, right? And if I needed to feather the edge, I could go in with a brush and do something like that. But I've pretty much pushed things to where I want to at least try and see how this is working. But I do want to flip this, so first I need to select it. So remember. Control or Command and click right on the layer and I'm loading it as a selection. Now what I've selected now is this guy here, I want to flip that so I could go select and then choose inverse. I can also go Control Shift I, the flip this election, that would be Command Shift island a Mac. So now I flipped the selection. So now I can go ahead and select my RGB channel. Make sure this layer here is turned off now. So if I jump back over to layers now, what I'll do is I'll throw this out. This is where I was working on it before as an example, let me just go ahead and I'll just duplicate this layer and click OK. Just so I have a copy and then I'm gonna go ahead and apply the mass that we just created. Now if I turn this off, we can see that it really has done quite a great job at coming in here and making a complex selection, even on something like this tree that there's no way I otherwise would have been able to do this. Now, if you want to see how it's working with the background layer with a new sky, I can just grab one of these. You have to find a sky image or maybe you have one and another photograph you want to bring in. So I'll just bring that over. I'm just going to drop that in. Now we can see that this is a little smaller, but that's okay with something like clouds. You can really get away with re-sizing that a fair, a fair amount. So I'm gonna go ahead and do it like that. And of course I'm going to drop it down below. See how it's working. Now. I see that I did go a little too aggressive with my tree, right? With making that selection on the tree because I ended up with a little too much branch detail. So we are getting some halos there. But also I let me just first reposition my sky. So here's my sky. I'm going to grab it. So I'll just grab it up. And actually you can see, part of my problems was I had the darker part of the sky. Sort of had the darker part of my sky down. Now, if you've ever looked at Horizon, you'll notice when you look at the sky, it sort of gets brighter the closer you get to the horizon. And so since this tree is right on the horizon line, one of the reasons why it wasn't blending well is because those little white halos that came through on my selection where I went just beyond the branches. It really wasn't working, but really like this now that I've readjusted my sky, I don't think I would have to do anything to change that. Looking at this like this from this, nobody's going to really notice. Now if you zoom into a 100%, so a 100%, even right there, I don't think you can really notice if you have a sky that sort of a matches your original scene in terms of color tone than if you don't get the absolute perfect selection of something like a tree like this, it's still going to work because it's gonna blend. But if you did not use something like channel selection, and I just came in here and decided I was going to somehow select this with like select and mask or something. It's probably not going to work nearly as well as using channels and doing it this way and using those luminosity values. So in Photoshop, it really is about finding the right tool for the right situation. And don't forget, using channels is another option, channels or just luminosity selections. So again, another tool to put in your tool bag, and I hope you learned something. 26. The New Select and Replace Sky Options: In this video, I just want to show you one more new feature that was part of that October 20-20 update in Photoshop. So that's Photoshop version 22 and beyond. There now is a feature that allows you to directly select sky and it's under the menu here. So I'm going to come in here and just go under Select. And now we have this sky option underneath a select. And again, it just uses artificial intelligence in it's going to try to automatically make a selection of the sky. So in the previous example, we saw how you could do a channel based selection to do something like this. But now you maybe even have an easy, even easier one-click version where you can come in here and choose, select sky. So it's going to automatically go in there and you see it, it's made a selection of the sky. So now if I wanted to do something like a hue saturation adjustment, I could come in here and I could pull the Saturation up a little bit, something like that. I could also come in here and just add any other sort of adjustment I wanted to make. And it's gonna go ahead and now it has this selection here that it's made of this guy automatically. Now, is this going to be better than you can do with channel based selection's? Not necessarily, you can probably come in with a channel based selection and if you're careful, do an even better job. But if this is good enough and it saves you time, then absolutely make use of it. So again, go ahead and select on that. And of course I can control click to ludus as a selection. And if I wanted to reverse that, so now just come up here and do select and then inverse. And then of course I could come in here and I could mask this out just to show you it is making a selection of this guy. So you could do something like sky replacement where you come in here and you find another, another photo where you're going to use this guy, go ahead and drag that over, drop it in. I'll bring it down below this. And then of course I may want to resize. It's all moving around. I'll hit Control T, and then I'll hit Control 0 just to get to my bounding box here. And just bring this and make this a little bigger, something like that. And then of course, this adjustment layer, which I applied it before, is affecting my sky. So maybe I don't want that now, so I'll throw it out. And so I would still do some tweaking to make this sky fit this background. So it's not a perfect one button, does it all solution? But it is a way to quickly go in there and automatically select the sky without having to go to channels and fooling with levels and do something like that. So one more thing, let me show you that was part of that October 20-20 update. If now instead of coming under the Select menu again, even just come under Edit. And if you really do want to replace your sky with a new sky, rather than just making edits, you can come under this sky replacement. It's going to bring up this dialog here. It's going to automatically again tried to make a selection of your sky. But then what it's gonna do is it's going to let you choose from sort of one of these preloaded Sky images in here. And you can try to find one that matches well with your image. Because if you choose something like that's a sunset shot and your foregrounds on a sun sunset shot, it's probably not going to match well, so it's not a magic tool. You still have to look for a sky that sort of has the right lighting conditions that are going to work with your scene. But it is an attempt here within this dialog box where to do all the work for you. And of course, once you have a sky, you can still come in here and you can still do things like messing around with the blend mode. So something like this you're going to want to have and multiply mode. And then you can come in and decide how heavily that's being applied to the foreground elements just in an attempt to make it match better with your scene. So it is kind of cool that they have it all here and one dialog box. How often are you gonna do this? I don't know. Do you do a lot of sky replacement? You know, a lot of times you're shooting a photograph because you like this guy. So maybe you're not doing this all the time. But remember, you do have all these options. So now you do have this select option under here. We can select this guy and then you can automatically target this guy again, if that doesn't work well remembered, you can't come in or channels still do it yourself. You still can modify the selection that they bring up for you because you can save it as a mask. And then if you do want to get into that all in one sky replacement dialog box that's under the Edit menu and under sky of replacement. So just more ways for you to make selections inside Photoshop, more ways for you to potentially save time to fool around and see what works for you in a given situation. 27. The Minimum Filter Edge Cleanup Trick: In this video, we're gonna be talking about the minimum filter in Photoshop and how it can be a really great tool when you're trying to clean up edges on your image. Especially if you have things like a color halo on parts of your image that you're trying to get rid of right there at the edge. So let's imagine I tried to cut this guy out of his background. And I have this cutout and I want to put on this black background. But as you can see, I have this sort of white halo around this guy here. Now I sort of dr this to make this a little bit more obvious, it actually did a reasonable job when I started, although there was a little bit of a halo, but I've made it a little bit more pronounced just so we can see it here. But let me turn off this mass for a second. I just disable the layer mask. We can see this guy was on this background and because it's on a white background, sometimes when you're pulling subject off a white background, you get this reflected light that sort of makes this highlight around the edges. Or sometimes this tool will miss part of the background and you're getting the background itself right around the edge of your subject. And so if I turn this on here, we see we have something. It's just not going to look realistic. It's not gonna look good if you have this gentlemen here and you're trying to put him on this black background. So first of all, remember that you can always use multiple different tools. So if you, even if I use something like this select Subject tool to automatically select this guy, I can always come back in here with the math selected. You can always go back in under properties and you can always go back and into other tools. So for example, if I go in to select and mask, we know that would probably do a pretty good job at cleaning up his hair. So let me just come in here and we'll get zoomed in on us here hair a little bit. We'll take this Refine Edge brush and I will just start to work the edges of this hair. Again, the select and amass portion of this course. We covered this technique. But again, we know we could go in here and we could really quickly use something like this to come in. And we could make sort of a selection around US Air and clean up his hair and do a reasonable job cleaning up his hair. Now, you could also use it for something like this where you have this sort of beard sub well here. And I could even use it to start going all the way around the subject, although it can take a long time in amino, do a perfect job of going around him. I could do it, but there's an even better way. So I'm just gonna go click OK because we will select, save the changes I made. Actually let me hit Control Z a couple times because I'm going to leave this part here that I'm a save the changes I made up here to his hair. So again, go ahead and click OK. And we've cleaned up his hair. But how do we tackle this halo that goes all the way around our subject like this? Well, if you ever have a situation like this, a really helpful filter is the minimum filter. So with this mass selected, you can see I have not the layer but the mass selected here. I'm gonna go up to one of my Photoshop filters, and I'm going to go under Filter. I'm going to come down to other, and I'm going to choose the minimum. Now, you can see on screen already what just happened there with a radius of one pixels. So what does filter minimum filters doing? It's basically taking your selection those edges, and it sort of bumping them in slightly based on what ever radius I choose here. So that was with one pixel. Let's see what happens if I add up this to ten pixels. So you just have to type it in here and then just give it a moment of work. And then it's going to make the adjustment on screen there. So they're with the Preview on and off. Look at the difference of the edges. So there's that halo we had before. Just by running this filter here with a radius of ten, look at how we're able to go in and were really able to smooth out those edges by just by getting rid of that halo. Now if you do have a selection where you have a lot of sort of corner points, n square edges and stuff. You can pay attention to this here, and you can try that and see the differences between square and roundness. I don't think you're going to see a huge difference on this particular image, but you can fool around with that filter if you want to. But obviously, a really important slider here is this radius slider. Because if you pick something crazy here now it's gonna take, it's gonna take longer the more you up this radius, but it is kind of eventually make this change here. And you can see if I go to 86, well, ahead is definitely way too far. So again, be conservative but coming here and you're looking for number just big enough to sort of get rid of that halo or on any artifacts you're trying to get rid of. But then it really does make a huge difference. Now I'm gonna go ahead and hit OK. For a second so we can see the change there. So there is the change. But again, if I were to undo that, I just want to point out, you can again use a selection to refine the area on which you run this filter. So for example, if I just grabbed a rectangular marquee and let's say I did not want to include his hair, so I'm just gonna go everything sorted from the hair down, something like that. I'll come back here. And now if I were to run the filter again near the settings are already here. So filter minimum. And again, Iran the filter again, but this time I have not done it on its hair. So if we actually come on the mask here itself, we can just see what's going on here. If you just select any area, you run this filter, other minimum, it is basically pushing in that edge. So you see that slight shift there, it's pushing in that edge. So again, I'll cancel that. But again, this is a very helpful filter when you're talking about doing edge clean up like that. So remember filter, other minimum and then you can fool around with that radius, fool around with just using an OR portions that need that kinda clean up portions of your images that need that kinda clean up by first using another select tool to just refine the area on which you're running that filter. 28. Challenge Exercise: Select and Mask: Welcome to another challenge exercise. For this exercise, you can go to the project and Resources section of the course. And once you have those download files, you're gonna use this select and Mass challenge JPEG. So three things I want you to use do for this challenge. I want you to use the selected mass tool to make a selection of this woman Get the best selection you possibly can. And then we're going to put her on a new background, any background of your choice. So feel free to get creative. We're but we're going to put her on a new background after we cut her out with that select and match tool. Now the other parts of the challenge, I want you to change the color of your shirt, and I also want you to change the color of these lenses within our frames here. It looks like maybe this is just the color of the lenses, but it also might be picking up a little bit of this red reflected from her shirt. So I want you to go ahead and change the color of her shirt and then change the color of the lenses here. So it's more in line with, with whatever new shirt color you choose. So that's cut off from the background change to Clever shirt and then also change the color of her frames here. And if you want to show your results, you can save your result as a JPEG. And then in that same project and Resources section, section of this course, you can create a new project and you can upload what you've done so we can see your work OK. Good luck. I look forward to seeing what you come up with. 29. Challenge Solution: Select and Mask: Okay, let's take a look at how you might have handled this challenge exercise. So remember, we want to select this subject, we want to cut it out from the background. Then we're also going to change the color of her shirt. And we're gonna change the color of these lenses here so they sort of match up with the shirt a little bit more. Okay, so one thing I'll say is if you're going to use this selected mask tool and you know that you're moving, you're subject to a new background and you know what that background is, it can be helpful to have that background over in your document so you'll be able to see through to it with a select unmasked tool when your side of the selected mass Tool dialog, that will just give you a realistic view of what you're going to be seeing in terms of your subject versus the background. So you may save yourself some work that you don't have to do if things are blending well, or if there are some issues you may need to spend a little bit more time on, you're gonna be able to see those. So it doesn't make sense to bring it over ahead of time if you know what background you're going to use. So I'll just go grab this one. This yellow background is what I'm going to bring over. Mainly I just like the color and it's going to match up maybe with a blue color. I'm gonna use all my subject shirt. So I'm gonna grab this and I'm just going to bring it over. But for your thing, you can do whatever sort of background you want to experiment and play around with. So I brought this new background over. I'll just drop it below our subjects. And I'm going to come back on this subject layer because now I'm going to make a selection here and go inside a select and mass. Now remember, you won't see select and mask as an option up here on your Options bar until you actually have a select selection tool highlighted and active over here. Now, then I see this. Remember you can jump directly in and then start making your selection with the tools inside of selected mass. Or you can go ahead and make a selection first. So I'll just grab the object selection tool here. I'm just going to grab and drag a rectangle around our subject. It's going to make that initial selection. And then I will go ahead now and hit the select and Mask button and go ahead and jump inside here. Now you see now I do have this yellow background behind. If you're not seeing your background, you can come up here and change down to on layers. If you have on Layer selected here, It's going to let you see two through to whatever background layer you have in your actual document. Now you can also do things like work on white and all the other options up here. But I'm actually going to work on layer so I can actually see through to that background layer I have in my document. So this gives me a realistic view of my edges. Now, remember, now if you're working in Photoshop version 22 or greater. So that's the version that came out in October, sort of mid October of 2020. That new version, version 22 came out. And now it has this refind here option up here when you have any of these Tool selected over here. So if I click refind here now, just with a one-click, It really goes in and does a lot of that work. I would have had the previously do with the Refine Edge brush. Now if you still need to make updates, you can still grab this Refine Edge brush. You can adjust your brush size however you need. And you can still come in here and work some of these edges. So I can sort of start in, draw and work some of these edges. And so you can still come in here and use all these tools. But this Refine Edge brush can sometimes do a lot of the work for you. So I'm also might come in here now and just sort of use the Refine Edge brush and see if I can very quickly go over areas like this. And maybe improve the selection there to get rid of that background color. And then Z0, my keyboard just to zoom in, I have a couple little issues here. So again, I'll go back to that refine age brush, just get a smaller brush and Nick come in. I'm just trying to pick up these little areas here where we still have that original background showing through. So something like that. I'll use the space bar just so I can mouse across over here. I'll get this little area here. I'll get rid of that. I have this edge here, so I'll come up here again just using the bracket keys on my keyboard or resize my brush and then just coming in and painting away some of these areas with the Refine Edge brush. Okay, back to my zoom tool just so I can now altar option click and then click the zoom out. And you can actually fit to screen here just so I can see. And I think I've done a pretty good job. I would maybe take the Refine Edge brush and you could work the edges a little bit here, just a little farther if you just want to make sure you're doing a good job with this here. And then remember you have all these sliders you can try. And you can also come down here and go between object aware and color aware, just if you want to see the differences between those two. Remember, color aware is basically looking for the color contrast in the image and trying to find those differences in color to determine what its getting rid of when you're using that Refine Edge brush object aware is looking more just an overall contrast between the pixels and not really focusing on color. I'll also can decontaminate colors is a good idea to try, especially on an image like this where there's so much colored eat detail on the edges. And you can see when I check this off and then I check this back on at really does make a huge difference in here in terms of getting rid of some of that purple color that was spilling over here and also just bringing back a lot of the hair and making it nice full hair at the edges. So I'm pretty happy with that. So that I think that takes care of the refined age process just for cutting her out of the background. And so then I will go ahead and click OK. And it's going to go ahead and make that a mask here. Now I have an extra copy of my layer here. But that's okay, that's fine. I'll just bring this one down. We'll ignore that top one for now. And so now I have her cut out nicely and high, have her on this background. Now you could do what? Things like color matching a little bit. Seeing if that yellow tone would have a reflection on here, on her here you could do things like adding a drop shadow. So shadow, so all those little things you could do to come in here and make this a more realistic composite. But what we're going to focus on here is just the other challenge elements we had, which was changing the color of the shirt. And then we're gonna change the color of this. Let these lenses here, just so it's more in line with the shirt. So same idea here. When I want to really focus in on the shirt, I want to see if I can first make a selection or selection of the shirt. So I'll zoom in a little bit because it's a red shirt. If I were just to try to sort of loosely select an area here and do something like a hue saturation adjustment where I targeted this red color. I think the skin toads with definitely come into play and I don't think I would be able to do a good job with that alone. So I'm gonna have to have a pretty good selection of this shirt. So maybe I'll come in here and I will grab some tool. Like let's see, Quick Selection tool. Just to get started, I'll go to this menu here and I'll just grab that quick selection tool. And then with that quick selection tool, I'm just going to come in here and I'm a start following the edges here and just start to build this out. Now it's picking up some areas. I don't want it to pick up. So again, I can do the ALT alter option to turn that into a minus to start taking it away and get just as good as I can. Now it's missing some areas here. And it's doing a little bit here. I don't want it to do, but I think it's close enough now that I could go ahead and I could turn this into a mask and then do some more refinement. So what I'm gonna do is I already have a mascot, my subject here. So I know that I'm going to use a hue saturation layer to change the color of this. So with that selection active, I'll just come under here and choose hue saturation. And it's gonna go ahead and lay down that initial mask. Now, if I drag the lightness down, even though that's not what I'm gonna do, it's just going to be able to give me a visual representation of what i'm getting or what a missing. So I'm actually might drag it up just so I can see through a little bit. And this is just going to give me a visual guide so I can come in here and start to refine this mask just a little bit to make it work a little bit better. So let me come in here. I'll zoom in here a little bit to zoom in close, and then I'll use something like the pen tool. And I'll just start to put down some points. So I'll put down a point here, following the line of this shirt here. I'm just coming up here. And then I'll just click over to do a selection, complete the selection control enter, and then I want to get rid of this part of my mask, so that is the black color there. So if I just do Alt backspace with my mask active over here, so all backspace and then I'm filling with that black. And then again, I could come up here and I could do the same sort of thing up here where I want to add something in. So I'll just put a point there. I'll put an a point here. And then let me nudge that for my arrow keys and just sort of follow around here. Again, just making a selection alt click up here. And then I'm going to follow this side down and something right there and then go over here and complete this control enter. And then this time I will do a control back spacious to fill that in. Now let me just zoom out a little bit so I will do Alt or Option minus. Actually we just fit the screen here. So it's also helpful to just go back and forth from zoomed into, zoomed out just to see how you're doing. And I can see there's an issue here too, but let me just so you can all are also you can also just use something like your brush tools. So let me just come in here and I'm actually going to come in under this adjustment layer now. And I will reset the lightness, but I'm gonna go ahead. I will reset this lightness to 0. But then I'm gonna go ahead and go ahead and start making this color adjustments. So I'm going to pull this to something like a blue shirt like that. I can adjust that again if I need to, because this will stay sort of like something that you can interact with incoming here and make changes if you wanna make shifts. But that gives me enough that I can come in now. And I'm just going to really start to look at the edges of this. So again, I could even now at this point just grab a brush. So if I went over here to a brush and I'm just going to be painting with white and black all my mask. So I'll grab a brush and I'm gonna make it relatively hard here. Give it a little bit of softness. So maybe something like 84. And then let me again make sure I'm on my mask here. And off that just my brush size. So bracket keys to size it down. Remember black paint so away. So I can come in here and just start to paint away. Oh, I gotta up my flow. My flow is at 4%. So you have to watch like things, like, things like that if something's not working. So I can come in and just start to paint away this edge here, just so I have a really nice edge that follows my selection. Now anytime you're doing something like this, it's helpful to have a walk Wacom tablet if you want to be more accurate. But if you just have a mouse, you can also click and in one spot and then you can do a shift click. And that sort of let you put down sort of straight lines where you're following the edge. So just shift click here to clean this up. And then the other side you can check and you have a little things here that might not be quite perfect. But it's again, it's always helpful to zoom in and out because if I zoom out now, it's really not something I'm going to notice unless I'm really, really zoomed in. So I think what we've done here is fine, certainly fine for the purposes of this example. Now we also wanted to change the color of these lenses. So I will just sort of click and zoom in here. Gonna zoom in a little bit here just so I can see this really well. And then for this, again, there are lots of different ways to make a selection. But I think maybe I will use something like my pen tool. So I'm just going to grab my pen tool and I'm going to come in here and I'm going to start to just create a selection here with my pen that really works away around the inside of this. So I'm gonna do this relatively quickly. But obviously, you wanna spend whatever time you need to get the selection to the degree of accuracy that you need. So I'm not going to spend tons of time just since we're going over this as an example. But again, spend whatever time you need to get the selection. That's really going to give you the detail needed to make sure that result is something that works. So I'm just going to follow the edge here. And then again, as I'm dragging out, if I ever want to just move one handle, I just sort of click the ALT key there. Hold down the Alt key. Again is dragged out from different handle. Just take your time here. Make sure you get an everything that match up. And of course, all these different points, you can come back and adjust. So I made a little mistake there. Then we're gonna need to adjust and I'll come up here and I'll pull this down. So again, I'm not worried about getting this totally perfect. And you can come back after you've laid down initial selection and you can start to make adjustments. I want to come back here and make some adjustments. So I'll just come up here. Control-click on this point here. And this, these handles here. I'm just gonna come over here and alt, click on this control point. Pull that up so it's matching better. Come over here. This control point, get that, so it's matching better. Control. Click on this point here. This one I need to make an adjustment. And so Alt again alter option, click, drag that out and just taking the time in here to make sure I have a really good selection. So I think that's pretty good. So I will go ahead and click Control Enter to have that as the selection. Again, I think I've missed something there, so I will need to go in and touch this up, but that's okay. You're gonna make mistakes. Mistakes are okay. You can come in here, you can make adjustments, you can fix those mistakes. So I'll just do hue saturation. I can start to make the adjustment here. So I'll do that in a second actually. I have again a mask now started with the left side here, but let me go ahead and do this right side. So again, WHO grabbed my pencil? I'm gonna come in here. Click, drag, click, drag, release, alt, click to change this to just the corner point there. Click here. Again, that's a little off, but I can make adjustments later. Now I can click here, drag it out, click, click and drag. Put down a point, appear. Boom, alt, click, come down here. Start following the surround against spacebar. If I need to move that point actively as I'm laying this down, come out here. Just taking my time here, but again, going a little quickly maybe. But again, take the time you need and don't be afraid to take the time you need. But also remember you can come back and make corrections so you don't have to get it absolutely right the first time. So I'm just gonna complete this, drag this out, and then I'll go to any individual points in here where I need to make adjustments. So again, Control or Command click over here, alter option click to just pull this one side, making a little adjustment there. Control-click up here, alter option click is to pull this up a little bit. He's little adjustments. Just know that you can come back. And this is where you'll be frustrated if you don't get these command keys down. So he then control-click or Command click when you're selecting on a point. Alter option click when you're just sort of trying to drag out one handle. Again over here alter option when I'm dragging out this handle. And I think that looks pretty reasonable. So then I'll control enter, that would be Command Enter to just turn that into selection. And again, there's wanna fill my mass gear, so building with my background color. So that's a control backspace and you may not have seen it there, but if I alt click overall my mask, I can see yes, there we have it. So I can de-select now. And now I can actually come in here and actually let me zoom out now. So zoom all fit this backtest screen. And now I can come in here and actually start to play with and adjusts with the hue on my classes there. So you can see how I'm pulling with this now. So I want to start to turn those into some sort of blew that sort of going along with my shirt down there. So I'm going to drag this over. And then of course, if you feel like you want to just take that all of that back a little bit. You always have things like opacity where you can still come in here and make adjustments. So something like that maybe. And so just like that we've come in here, we've taken this original subject, we've cut her out, we've put her on a new background and we started to fool with the color of the shirt, the clever frames here. So it all comes down to selections, really learning to make these selections and being able to refine these selections lets you target those areas of your images and really make those specific adjustments. And then something like the selected mask tool. You really can take a subject with complicated hair like that and very quickly cut her out and put her on a new background. So you can come in here and do other things like drop shadows and other things. I'm not gonna do anything else. I hope this was helpful to you and I look forward to see what kind of results you came up with. So go ahead, save your result as a JPEG, put it in that class project section, and I'd love to see what you've done.