Photo Compositing Secrets: Three Useful Techniques | Mark Johnson | Skillshare

Photo Compositing Secrets: Three Useful Techniques

Mark Johnson, Photoshop luminary and encouraging teacher

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3 Lessons (42m)
    • 1. Compositing Selections Elevated

      17:02
    • 2. Compositing Unruly Hair

      12:20
    • 3. Wrapping Realistic Light Around a Composited Subject

      12:12

About This Class

In this free class, you'll learn three incredibly valuable photo compositing techniques. We'll dig into who to make super accurate selections around difficult subjects, how to deal with unruly hair and how to add realistic light to your composited subject.

Transcripts

1. Compositing Selections Elevated: Hey, everybody. Thanks for joining me on the photo shop workbench. I'm Mark Johnson Photo shop CS Fives. Refine Edge Dialogue is remarkable for refining selections, yet its weakness is that it doesn't provide a good solution for controlling. Herridge is independent of skin and clothing edges. The refine radius tool is useful for refining hair, yet it makes a mess of skin and clothing the radius, smooth feather and shift edge sliders, or ideal for refining skin and clothing. Yet they destroy hair detail to circumvent refined masks. Shortcomings. Hi suggest making two passes through the dialogue, then combining the best of each mask to generate one nearly perfect mask. In a days work bench. I'm gonna show you how to do this. First thing that you want to do is open an image of a subject, preferably an image that was captured in front of a white, seamless background like the one you see of Patrick right here by capturing in front of a white seems background and by shooting under the right lighting conditions, you're going to have much better odds of success with extracting your subject, and I have a compositing video tutorial. Siri's coming out sometime soon, where I'll go into great detail about how toe like this, and do all the other things that you need to do to create a successful composite. Now I want to create a selection of Patrick. This selection is going to be a good selection, but it's not going to be an attempt to select fine hair details or patches of hair where the backdrop is visible. So uhm, I'm going to use the quick selection tool here. Let me zoom in closer, all right. With this tool, I'm going to start dragging around patch for here and making a selection. And the quick selection tool does a remarkable job, but it's not gonna be perfect. So we're gonna need to do some cleaning up with the quick selection tool and possibly even some selection modification with the political lasso tool. Let's go ahead and pop in here, and I'm moving around, by the way, by holding down the space bar that helps you navigate around the screen. I'm making my brush smaller using the left bracket key right there. All right, now, something I don't want select to see this area right here, we could see the backdrop through the hair. I'm gonna hold down the option key and go into subtract from selection mode. I'm gonna paint that away and same thing over here. I really don't want those areas where you can see the backdrop and you'll see why I coming up here shortly. Maybe that spot to all right now, areas like this, where something is slightly out of focus can be difficult to select with the quick selection tool. So we're going to do is pop over here to the polygonal lasso tool. I'm gonna set this to add to selection mode right here, and I'm going to click right along the edge of the arm. I find with arms in particular quick selection tools sometimes falls down on the job a bit . And so I'm just circling around here like this, sort of like connecting the dots and I double clicked right there and went right back to the original point where I started making that selection. If I were really working on this, I would get into detail, like in areas like this year. I would probably I mean, subtract from selections I'm holding down option or all I'd probably do something like that . And I pop into here and do the same thing. Not going to go into this excessive detail today, but I just want to show you are actually doing a composite. I would get into that level of detail right there. And I could be using the quick selection tool in ad two mode on some of these spots. And that would probably work if it didn't work. I would know that I can come right over to this polygonal lasso tool and get the job done. So I spent most my time working with the quick selection tool. But I do subtle selection refinements here with the polygonal lasso. All right, that's looking pretty good. Let's just see here. Now. This whole area here is part of the selection, So I'm gonna go back to the quick selection and I'm a hold down option and paint through here. Get a better selection in there. This I'm just gonna try to paint over this and see if I can get it. With the quick selection tool, changing the size of the quick selection tool makes a big difference in how things go here . It's looking pretty good pop over to this side. Take a peek. We just subtract that. I don't want that Harry area right there. And then let's add this part in. It's good enough for now. And this is close to where I would actually be in this process if are really working on this composite. I spent a little bit more time getting some perfect selections around these areas. But, um, for the most part, this is looking pretty good right now. Okay, now, since I brought this image through adobe camera Raw as a smart object, all I have to do right now is click right here to add a mask. If I were working on a non smart object, that wouldn't work. What I need to do is choose select refine edge, and then don't do a thing in refine edge yet and just output this to a layer mask and click . OK, so that's what you do when you're not working on a smart object. But I am. So I'm going to click right here, and there's my mask. I would save this file right now. I'm as kind of my, um selection master file. But at this point, we're gonna start doing some compositing. So we're going to take a background here that have already processed toe give it sort of edgy, grungy. Look, and I'm gonna move the subject over, okay? So activate the move. Tool shift dragged the subject into the background, and I could get rid of this one for right now. All right, now that the subject is in front of the background, this is a great time to start refining your edge, because what you see is actually what you're getting in the composite. So rather than doing detailed refining here in this file, let's do it here in the composite file. Alright. And here is the beautiful secret to refining hair independent of skin and clothing. What you do as you duplicate this layer twice. So command J once twice control J on a PC. Turn off. Well, actually, let's name these. That's gonna make life a little bit easier. Let's name these layers. I'll call this top one here, hair call this one body and I'll call this one original. Here we go. Now let's turn off visibility for original and body and activate the mask for hair so hair is visible I've activated the mask. I'm going to focus all my attention right now on the hair and let me zoom in closer so you can really see this. I'll choose select refine mask. And again if you shot your subject in front of a white, seamless backdrop that you turn to a light gray and you shot your subject with EJ lights and a main light, this should go pretty smoothly. All right, so what I'm gonna do here is I'm going to click the Smart Radius box. I'm going to drag the radius slider far over to the right until the hair starts to look a lot better. I want to play around with how far I need to go. That's that's actually bringing in that one little spiked hair right there. I don't want to go any farther than I have to, but I need to go to hear in order to get all the hair number. Tap P, which is the same thing, is clicking this box. There's a moment ago and here's now look at the hair now. This didn't do anything good for the body, the ball, the clothing you can see. It's it's very soft. It's some cases you can see right through it, but did wonderful things for the hair. Just checking this box and moving this pretty far to the right and then refining it. I've been viewing this, by the way, all along on layers. That's how you wanna be viewing this. Now I'll put this to a layer mask and click. OK, so this hair one is perfect. With the exception of the fact that you have these body areas in these clothing areas in this ball area, that don't look good. So what I'm gonna do is I'm gonna option click the mask are all click on a PC. I'm gonna grab the brush tool. Black is my foreground, about 100% opacity. Go ahead, make my brush fully hard edged by shift, right bracketing several times. And I'm going to paint over all areas that don't contain hair. And if you get any hey lowing outside of the edge of your subject, paint over that hailing now as well. Okay, so just go and paint over these edges right here, because you're gonna be using these edges from one of the other mask or one of the other layers. Come right here. Over this one. That's looking pretty good. All right, so we're ready to move on. Switch off visibility for the hair layer, activate the mask for the body layer and turn on visibility for the body layer. Now we're gonna focus all of our attention on the skin, the clothes and in this case, the basketball. I'm gonna choose Select refine Mask. I'm on the mask here. This time around. The first thing I want to do is move the shift edge slider to get rid of halos. Here's a moment ago on there, and here's now see how it eliminated that halo. I would look all around, see if I have any other halos. Okay, Next thing I want to do is move the feather slider toe, add softness to the edges. That is consistent with ej softness throughout the document. So it's gonna vary somewhere between usually one pixel and 2 2.5 pixels. It's gonna look good, Tappy to see before and after. I got a little bit of roughness, A little bumpiness showing up in here. You can smooth that out with the smooth slider right here. So now if I tap P before after you see the halos, they're gone. I have a slightly feathered edge and I have smoothed out some of the roughness that I had a moment ago. All pretty slick. Let's output this to the layer mask by clicking, OK? And now we need to paint over just the hair areas on this mask. So I'm gonna option all click the mask. I'm gonna paint over these hair areas. In fact, not that I'm actually going to turn the mass back on by optional clicking because I want to paint over actually knowing even even easier way here. Turn on visibility for this hair layer and then go ahead and paint right here. Not going to see a radical change. But any areas were this one messed up the hair, right? It right at the edge is right at the fringes. It's gonna fix those problems. So it's real subtle what I'm seeing here, but it is actually creating some improvement. Good. Okay, so now between these two mask, I have great looking hair and I have great looking clothing and skin. Everything is looking pretty good at this point. I might need to go in and do a little bit of manual painting on these with white or black Just just really suddenly refined things. But at this point, you should be 95% there. Okay, Now, what we're gonna do is we're gonna take these to mask and turn them into one mask to replace this one down here So we don't have all this complication of these layers. So I'm gonna come down to this mask right here and control or right click on it and choose delete layer mask for the original layer. Now, I'm gonna go ahead and hold down command and click right here on the mask for hair. I'm holding command and shift at this point and click on the one for body. So that's taking those to mask and combining them into one selection that you see here with the original layer active, I'm gonna go ahead and add a mask. Now, the original layer has the combination of these two mask right here. I'll turn on the visibility for the original layer. Click here and then shift. Click here and drag these two layers to the trash. This is one great looking mask at this point, I could see there's an area right there. We gotta fix. I'm gonna grab the brush tool set. Why does my foreground and just paint right here? Missing area. There we go. That's one great looking mask. You should be 98% done here. The one thing you might need to change is if your hair requires any further refining, and this really doesn't. But let's pretend it does. What you can do is you come down here to where it says FX layer styles and you can choose inner glow, which is just off screen or the other option is choose layer layer style, inner glow. Okay. Now, if you're working on somebody with dark hair like Patrick, set this to multiply. If they have light hair, set this to screen, then click right here in this little color box and sample a hair color from your subject. That looks like it belongs up along that edge. Okay, You know what I'm doing here? I've got a little problem. Hold on one sec. I'm gonna cancel because I could see I'm still on the mask. I need to actually be on the subject, not the mascot. this point in time to go back and do that again. Layer, layer style inner glow He's got dark hair so changed from screen to multiply. Click this box and sample. There we go. Let's get a little bit lighter. Looks like. Okay, now here's a moment ago. Here's now look at that hair and I can move the opacity slider, Get it just where I want it. And I can't even move the size slider before after that actually looks better. It looked great a moment ago. It looks even better now. Ah, press. Okay? We have an issue. That glow is also around his body. I just wanted around the hair. So we're gonna resolve this my control or right clicking here on inner glow and creating a layer. Now we have a unique inner glow layer which will activate. Ah, hold down Option are all on the mat on on the option on the Mac Ault on the PC and click the add layer mask icon Here have the brush tool. Is that Why does my foreground? I'm to go ahead and use a soft edged brush now, so I'm using shift left bracket Kita. Make this soft again and I'm gonna paint just over the fringe of the hair and only the hair not gonna go over the body, the skin or the clothing at all. Look at that. That's actually at 100% because here's the change from that inner glow. And here's the mask that we created with that rather beautiful, sophisticated method. So we have This is that 100% We have a subject who is beautifully, cleanly isolated from the background here. I can see I missed a spot right over there so I might go to the mask and paying with White . Yes, right in here, just like that. But that is looking really great. And, um, I think this technique is just awesome. It's earth shaking and composite selection making forever changing the landscape. So hopefully you're is excited about This is I am if you are a composite, Er And, um thanks for being with me. 01 more thing. I want to show you. Here is the completed version right here. After I did all my color effects at its oh, my density effects that it I wanted something that looked very dark and powerful and strong . And so that's the final look that I created from this very image that you see right here. Anyway, thanks so much for being with me on the photo shop workbench. Have a great day. 2. Compositing Unruly Hair: Hello, my friends. You're watching the photo show workbench. I'm Mark Johnson. Compositing wispy strands of hair is tricky business, but in today's workbench will explore strategies for capturing and compositing models that makes the process uncomplicated and fun. Let's begin with several recommendations for successfully capturing a subject and keep in mind these are only recommendations, not requirements. First, light the model with three lights a main light and to edge lights with modifiers such as egg crate grids that create noticeable rim light along the edges of the subject. Second, use a seamless white backdrop. Something as simple as a seamless piece of white paper will work. Third, it's best to shoot medium to dark haired models on a white or very light gray background. To accomplish this, either move the model close to the seamless white backdrop and or light the backdrop. And finally, it's best to shoot light haired models on a dark grey background. In this scenario, it's crucial to add rim later along the edges of the hair to achieve a dark grey background , move the subject farther away from the backdrop. Now let's examine which blend modes air best to use in Photoshopped based on the model's hair color in relation to the density or the darkness of the background. The best case scenario is if the hair is dark and the background is white or very light gray, you'll find that multiply blend mode works extremely well, as you're going to see in just a few moments. Other workable but less desirable scenarios are Ah, if the hair is light in the background is medium to dark grey. You'll find that screen and overlay blend modes have potential. Now, if the hair is dark and the background is medium to dark gray, hard light multiply and overlay blend modes have potential. Now let's go ahead and explore how to put all this knowledge to use in a real world wispy hair compositing situation. You can see here that, um, I have already selected the subject, added a mask and imported the subject into this document. So here was the original document. Here it is, with that subject imported. Here's the subjects mask right here. Now, as you can see because of the hair, and let me turn off the mass for a moment because of the hair, it looks right now, kind of like, um, she received a haircut from a five year old. So not looking so good at this moment. If you want to learn all of the compositing secrets that lead up to this more advanced tutorial, take a peek at my dramatic portrait compositing video tutorial. Siri's. It covers just about everything you'll need to know to make great composites. You might also find, um, push up workbench 3 31 and Photoshopped workbench 3 77 Super helpful if you're into compositing. Difficult things like hair. So anyway, those resource is gonna be great off. Ah, to help get you to where we are here and to help you follow up, You know where to go from this point. So let's make this look a whole lot better. So we're gonna take this subject, layer the one where I made this selection and added the mask, and we're going to duplicate it with command J on the Mac or control J on the PC. Let's go ahead. Turn off visibility for the original subject layer. And let's name this layer. What's going to happen to it were to call this refine mask hair. Okay. All right. This is refined mass care. We're going to be refining this mask dramatically in order to make the hair look better. But you're gonna find that even with a dramatic refinement is still not gonna look perfect . And that's really where this tutorial is headed. We're gonna I'm gonna show you a great secret for making this with almost perfect. So you want to activate the mask for this remind refine mask, hair layer, and then choose select refine mask. In this dialogue, you'll notice that I'm currently viewing this on layers as part of the composite. That's a great way to do this. Keep in mind, you can view it other ways, like black and white or on black or on white. Um, we may take a peek at those in a moment, but on layers is really gonna work for you here. Now, since you're working on the hair and just the hair, what you want to do is move the radius slider radically to the right. Watch what happens to the hair. Remove it even farther. I want to go all the way. Would you look at that? We're now seeing the strands of hair, but they don't look completely believable. So we're gonna have to do something else, which will do in just a moment. But I want to show you here how this mask looks. So we're reviewing it. Um, black and white here. If I tap p or check this box, there's a moment ago five year old haircut. Here's now so went from poor, too much better views on layers and do the same thing. So went from here to here. So looking a whole lot better still needs some work. Where to? Go ahead and output this too. A layer mask. So once you've moved the radios to the point where the strands of hair look their best, the best they possibly can at this point out put this to a layer mask and click. Ok? All right. So, um, we now have pretty good looking here. We need to do something else. So again, here's Here's the refined A mask. What we're gonna do now is we're gonna work with the blend modes that I talked about in the introduction to this workbench. That's why I have written them in the introduction so you can follow up with them and decide which blend mode works for you. We're gonna activate the subject layer duplicated with Commander Control J switch on visibility for this layer and let's go ahead and name this one blended hair because we're gonna use a blend mode to make this work ups. There we go. Just are blended hair layer. Now, since we're gonna be using a blend mode, we'll take this mask right here. So I'm gonna click on the mask that I'm going to control or right click on it and choose delete layer mask, actually want to get rid of it for this blended air layer? So you see, there she is over her original background now, in this instance because she has dark hair and she's on a white background. This is kind of the best case scenario. Um, we're gonna change the blend mode from normal to multiply when you have a dark haired model in front of a white or light grey backdrop. Change the blend mode here from normal to multiply and see what happens. So we'll go up here too. The blend mode pulled down, changed from normal to multiply and voila. Let me zoom this up just so you can see here's 50% magnification. I want you to look at the hair right now a very natural and beautiful blend on an extremely complicated situation or in an extremely complicated situation here. And we got that through these two layers. The refine mask, one where we refined the mask using the refine mask dialogue and then the blended hair layer where we changed the blend mode to multiply. Now keep in mind that different model slash backdrop scenarios require different blend modes and for advice on which ones to use, go to the text associated with this workbench. So in this scenario, the job is done. But in cases, um, of other blend modes, uh, you may have to add a mask to this blended hair layer and paint away some light gray areas that may still exist. So in that case, you would click here to add a mask and then use black paint to paint away grey areas that may exist when you're in other blend mode scenarios and you'll find if masking alone does not work, you can open up the layer style dialogue and used the blend, if sliders to blend away the gray areas. So how you would do that? Well, you're not really gonna be able to see it in action here, but I can show you the process. You would choose layer layer style blending options, and you come in here. Um, we'd be working on the blended hair layer where we'd see maybe a little bit of grey out here. And if you want to get rid of that, what you can do is, um, you can take it the highlight slider right here. Um, and you can pull it inward. Now, if you see a tearing in the scene or in the gray area, it's OK to have that terror happen up to a point. But you'll find that pretty soon you start dragging this, you'll have to hold down option, which would be Altana PC, and drag this in like this and that will. You can actually see what's happening to air right there at a point. See how it's having some effect. So it would be stripping away any gray area that exists right here, because you were in a scenario with a model that had different colored hair and you had a different density background. So we don't need it here. I'll cancel. But it's really nice to know that you can do that as well. So finally, on this image, when we did this refining of the mask here, you'll see that it did great on the hair, especially when we combined it with this blended air layer that's in multiply mode. But it didn't do a very good job on areas that don't have hair. For instance, her arm right here. Well, her arm looks good on the subject layer. So what we're gonna do is switch on visibility for the subject layer where her arm looks good. There it is, looking lovely. But when we do that, we're also getting the five year old haircut up here, which in this case, doesn't look so bad. But it is building in some extra density out here. I don't mind it here with a lot of the circumstances. You're gonna mind it. So if that's the case, you want to activate the mask, grab a brush set. Black is the foreground color, and you want to paint with black. So I'm on the mask for the original subject layer here, and I'm painting over the hair. Very subtle changes in this example, but you'll see potentially more radical changes in you're other examples come down into here. So now we don't have any of the five year old haircut interacting with this. So went from there to here from here to here and again. It's not ah, not really noticeable in this example. But still, at this point, when you look at this model, her hair looks great in this composite, her arm looks great. Everything looks totally believable. And this is not necessarily an easy subject to do this on. I'm gonna show you before we wrap up here. Just want to show you here is the finished composite. You'll notice that in this example, because there are these wonderful Boca esque snowflakes falling out here. I added some of those in over the model here, and I went ahead and gave her some sort of frozen misty breath as well. So anyway, fun with compositing hope you're able to put this technique to use on any subjects that you have that have particularly challenging hair or fur or anything that's just super difficult to select. Thanks for being with me on the photo shop workbench. Hope you have a marvelous day. Take care 3. Wrapping Realistic Light Around a Composited Subject: Hi, everybody. This is the photo shop workbench. Thank you for joining me. Compositing with photos is one of my all time favorite endeavors. I relished the opportunity to exercise my creative muscles while crafting a scene with cinematic qualities that might not be possible to create. With only a camera in today's workbench will examine one of the techniques that is most essential to making a composite, believable rapping light around the subject. I'll show you the original way of doing this as well as a new way that I stumbled upon quite by accident. If you'd like to support the continued release of free tutorials like this one, and you love learning amazing new techniques, I encourage you to support my site in one of two ways. First, head on over to my bookstore and check out all of the great premium content, such as my dramatic portrait compositing video tutorial, Siri's and whenever you're considering making a purchase, pop by my discounts page to discover discounts on all kinds of useful third party products . Since many of you by your gear from being H photo, please click through the B NH link on my discounts page before making your purchase. All right, on with the tutorial here. As you can see, the scene I have right here. I've already selected and imported the subject into this lovely background. But the subject is not yet interacting with the background for a couple reasons. First of all, the color of the light on the subject is not quite right. And second of all, the light, which is very bright behind the subject back here, is not wrapping around the subject. So what I want to do is I want to show you one way of wrapping light. It's not gonna work right here, but it is a very effective way on many composites. So I'm gonna show you that, and then I'm going to show you the way that actually works here and how I stumbled across it. So here's the kind of the old way of doing this. You want to go to your subject, layer the layer that I have right here and make that active, then pop down here to the layer style icon and choose inner glow. All right, now move this all the way best I can. There we go. All right. Here in the inner glow area. What you want to do is make sure that your blend mode is set to screen. If you're trying to create a bright glow, if for whatever reason you're doing a dark one you'd go with multiply. But screen is what you're gonna use for bright blows. And that's gonna be the case. Um, I think almost all the time. So go with screen. And then what you want to do is click right here. That's gonna bring up your color picker, then hover over. You're, um, are the area of light around the subject. So, for instance, I might click right here. It's gonna bring in that sort of orange peach colored glow. I'll click OK, and you can see that I can change the size of the glow. In other words, I could make it encroach mawr into the subject by moving this slider. And then I can change the intensity of the wrapping light with this opacity slider right here. So the net effect goes from here to here goes back that down just a little bit more. Let's actually increase this a little bit more to so we've got from here to here and you can see it's wrapping light in there, and that's very interesting. But the reason it's not quite working for me is in this particular scene. We have warm light up here, and the light cools down quite a bit down here. So we would have kind of a warm glow in this region and be cooler out here and be cooler right down here. I wouldn't have this consistent orange peach glow everywhere. So that's why it's not working for me in this scene. But in some scenes, that's gonna work for you beautifully. Right now I'm gonna click. Cancel. All right, Now we're gonna move onto the second technique for doing this. The one that I stumbled across. That is marvelous. But I want to show you how I stumbled across it. And, um, it's going to give you a great little color balancing a tip along the way. Or actually, it's more than the tip to technique. So, um, I was in the process of trying to bring lighting into this subject that is consistent with the background. And one trick for doing that is to come to your background layer the layer that represents your background that your compositing in front of and duplicate that with command or control. Jay. All right, then move that duplicate to the top of the layer stack. All right, Now what we're going to do is we're going to average the colors in here, so we're gonna choose filter, blur average. It's gonna average out all those colors. All right, Now, what we want to do is, um, we want the this color cast to apply only to the subject. So I have a mask right here associated with my subject. And what I'm gonna do is I'm going to option or all to drag that mask up to this averaged layer. All right, so now that color is affecting only the subject. But as you can see, it is blocking the subject. So he wanted to actually blend. Which means we're gonna come up here to the blend mode. Cyber activated. The labour would come up here to the blend modes, and we're going to choose either color overlay or soft light. Alright, let's try overlay. There's overlay. Here's soft light and here's color colors. Definitely not working. Let's go to overlay or soft light. I like them both, um, soft light. I might go with that. Let's see. Here's before. Here's after. Um, I might reduce the opacity on that just a little bit that we have this. The other option would be I could go toe overlay and I could reduce capacity substantially , quite a bit more. And actually, that is really nice right there. Look how that has in pretty much one fell swoop, it has created a color a tone right here that's consistent with the background. So we've balanced the color. We're still not wrapping light, but we balanced the color. Well, it was while working on this very technique, I'm calling this the average technique that I thought to myself. Well, if I want to wrap light from the background, can't I do something similar to what we just did here? And here's what I came up with. What we're gonna do is go down to the background layer and we're going to duplicate it. Commander Control J. Just like before we're gonna move it to the top of the layer stack, just like before this time, because I want to have some flexibility with the blurring. I'm gonna choose filter convert for smart filters. That means I can change my mind. Now I'm gonna choose Filter, Blur and instead of average, I want to go to gal assembler. And I want to blur this background until there is only light but no detail, no texture, no detailed, just light, just like what we have right here. That's perfect notice. What's unique about this is unlike the average technique or, for that matter, the inner glow technique. I'm going to be able to wrap light around my subject that is consistent with the background and be warm light up here. It'll be cool light down here, so press OK. There's my blurred life. I want to change the blue. I can double click here and go back in and play around with that some more. Now what I want to do is cycle through the blend modes and see how this layer interacts with the subject below. All right, so I'm going to activate the move tool and using Shift Plus, I'm gonna cycle through the blend mode. You can see them changing hearing to be able to see them changing on the photo as well. Multiply is interesting. I'm thinking about wrapping this light around the subject. A soft light is interesting and hard light in this particular example is dynamite. This is what The one I actually arrived and I was like, That is exactly what I want. So that is the exact look of what I'm after a year in terms of wrapping the light. I mean, it's almost like the light has wrapped entirely around her here, Um and I don't want it to go that far, so I'll fix that in a moment, but it's almost what it looks like. So, um, you're going to need to use different blend Mo's here, and this isn't gonna work on every photo. But on some photos like this one, you're going to see that you're like, Wow, this is exactly what I want. So now I want to isolate this effect to just the edges of the subject, and I could do that, but holding down option on the Mac Ault on the PC and adding a mask. Okay, that is a black filled mask right there. All right, have hidden the effect of this layer. Now, where we're going to do is hate with a soft edged white brush at reduced capacity, and we're going to introduce light exactly the way we want it. Tell Tabby to get to this brush tool. Got white. Is my foreground like a tap? Acts? If I needed to exchange those two coming here to opacity, I'll start with, say, 50% sold Tap five. Make my brush bigger. I'm working with a soft edge brush and I will start to paint light around the edge of the subject. And I'm I'm really up here. The light is intense, so I'm allowing a lot in by painting with 50%. When I want less light to be wrapping around the edges. I can make this something like 30%. So I tapped three there and I'm letting less light in down in these regions through here, Out over here, I might let less light in Super. I don't need to let any light in right there a little more. Ian's. I'm painting over some of these areas more than once. I want to make my brush bigger and I'm a tap. This spot right here. Look at the way that's wrapping that light around. Wow, that is absolutely incredible. So here is unwrapped and wrapped. Look how the light is now. Interacting from the light from the background is now interacting with our subject. And you could sit here and you could be as precise about this whole process as you want. You decide exactly the look that you're after. Maybe I'll paint a little more in Just let it wrap a little bit more. So here we have before and after and let me show you Actually the um Oh, and let's actually show you the mask. There's the mask for that layer. But so here was where I did the average technique, and I happen to be an overlay blend mode. This is the technique where I change the color balance of the subject. And then here's the technique where I wrap that light around using the galaxy and blur technique. Now here's before anti Any interaction between subject and background and here is after. Look at the difference. See how that is really beginning To make this composite look realistic, it's starting to sell the composite. That is one of the best tricks that you can use in order to accomplish this. Thank you so much for being with me on the Photoshopped workbench. I hope you have a marvelous day. Take care