Photoshop with Logan #2 – Italian Fashionistas | Logan Susnick | Skillshare

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Photoshop with Logan #2 – Italian Fashionistas

teacher avatar Logan Susnick, Photoshop Master

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

Watch this class and thousands more

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

Lessons in This Class

3 Lessons (42m)
    • 1. Class Intro

    • 2. Select and separate

    • 3. The blur effect

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About This Class

In this class, you will learn one technique of adding additional depth of field to a photo. This approach is the most useful when there are several depth layers in the image. In the first video we create selections and save them as layer masks, and in the second we apply the blur effect and deal with different issues that come up in the process.

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Logan Susnick

Photoshop Master


Photoshop with Logan is a set of Photoshop projects designed to improve your existing skills and teach you new ones. Each course is one relatively simple project that uses different tools to achieve intended results. Most courses are designed for the intermediate user.

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1. Class Intro: Hello, students. Welcome to photo shop with Logan, number two in this video. We're gonna take these fashionistas clearly Italian guys, and we're gonna add a little bit of a blur behind him. So what we're gonna do, we're gonna cut them out, and we're going to blur behind them. But the thing about this photos that it has layers of depth there, two more guys standing behind them. There are people on the wall behind those guys. And then there's all the background. So we're gonna cut out all these layers separately, and I will show you what kind of problems you're going to run into with this approach. This is kind of an old school effect. There's so many ways to do this focus effect. And, uh, that's it. Hopefully you like the class. If you do, please give it a thumb's up. Recommended. Otherwise, uh, don't. And I'll see you inside 2. Select and separate: so in our image, we really have four areas off the image. There's foreground layer. You know, this guy and this guy here. Then there's the next area, which is this and this guy right next to him. Then we have the woman on the wall and the whole wall and all the people that are leaning on the wall probably to this great here. And then there's everything else which is, you know, the background. So you know to do it kind of, um, with the utmost amount of control. What you would do is you would separate this guy and this guy in the foreground, separate them the two of them and separate, you know, basically 44 parts depth wise. And ah, this way you can have total control over how much you're going to blur which layer you can think of it as four different layers looking from the camera. Now, this image already has ah, decent kind of normal amount of blur. But, you know, if you've seen cool news, photography or sports, you know, you've seen that it can It can be a little You can have a little more depth of field effect here, so you know, it's it's an example. Ideally, you would be fixing a photo that's totally sharp. And in this case we're just going to try and exaggerate what's already here as an exercise . So we're going to run into into a couple of different issues, but you know, we'll deal with them one at the time. So the first thing I'll do, I don't want to work on the background layer. I'm gonna call this 11 and you can drag here to make copies. I'm going to call this one to You can do Commander Control J to make a copy and we can do three and four, and actually one would be on top. That's gonna be the first guys. 1234 We can even make a backup or it's called it original and leave it there just in case so we don't need any of these guys. We really just want to start with the 1st 1 Now. As faras selections go, there are different choices. Obviously, there's a magnetic lasso tool, and there, you know, that's the last one of the last so tools. Now that's a that's a very precise and when he escaped here. That's a fairly precise tool that, you know, you would just go around the object and slowly you would let it just make its own selection . Now, you know, apart from the pen tool, which is probably the the most precise one, I think this would be the 2nd 1 And, you know, you have a little bit of patients and and if you if you mess up, you can you can later you can fix the mask itself. So what we're doing, we're really creating a selection in order to create a mask. So you would just follow the person that you need to follow. And, uh, that's how you do it roughly. Is he? I missed his ear, but we can fix that later. So I'm just holding the mouse and, uh oh, you wanna You want to double click to make that full whole selection. Now what we can do, I find it easier to fix this later so we can mal, etc there different ways Again of doing this. Um, we can try to, uh where is this? Sorry. So if you if you click here again, you're gonna move the selection If you click outside, you're going to start creating a new selection. So when you hold shift, then you are adding to the existing selection. So I clicked shift and then you could also click as you go. If it's not going in the direction you want, you can actually click. But you see, now I double clicked and you know it adds to this selection. So I'm gonna hold shift and go this way. And, you know, I don't like using this for fixing things. So, you know, we made the first selection, but then for the second, let me show you what we could have used this in the first place. His quick selection tool Not the magic wand, but quick selection. So we already have, Ah, a selection. So we want to do you can, you know, use the regular brackets, square brackets to make a bigger or smaller, and you can hold the option or the old key to deduct from the from the selection. See, when I did, I just option clicked in that Harry out there. Let's see what else is, uh this is missing, So I'm just gonna click. I'm not gonna shift click. You see, it's automatically a plus. Once you use it, it it switches over to the to the plus to the add to selection. So you don't have to hold shift anymore. You can just click, and you don't even need to drag like you can do little cliques like that. And let's see a little bit of the head here, this little piece and what do we have now? We have this area here, but we don't want to add it. We wanna deduct from it, so option and there goes option in this area and sometimes you have to overdo it and then to to ah, you know, to cut back into it. That's for the small areas or just make a really small brush. So now this guy is pretty much selected. Let's just grab the bottom all the way. Okay, so for this, this is this is perfectly fine. We don't We don't need a better selection than this. I mean, they would like a said, we're going to run into some different issues down the road. I'm pretty sure I'm not gonna worry about these little hairs. And then we need the second guy now we can Do you see this? I'm just I just started clicking and selecting this and there was a face and you can option click this year. You can click a little more like here now. Also, you can do this from zoomed out. It's gonna be much faster if you just do it like this. So I'm gonna create a bigger brush with the brackets, and I'm just going to do it like this. And here's the arm and you see, it goes a little too far. You just click out there, you clicking here in the crotch, and now we have a decent, decent shape and C can't decide to make a smaller brush. So now I What I can do is is human and fix up different, different parts. I'm gonna make a smaller brush option Click now again. When it comes to selecting, you know, it's really you have to decide how much time you want to spend on it. Clearly, this is Ah, it's a tutorial. It's a it's a course. It's a class, and we don't have to be that picky because it's going to take forever. But you need to understand that you know, it's totally up to you now. It has to be a decent selection, definitely for these guys in the front, because they will be the most most visible. The edge that they're going to make is gonna be clearly really visible because it's gonna, you know, there's no blur around them, and there's gonna be blur on the things behind them on the on the layers behind. So you should be somewhat careful when it comes to this guy here who say similar colors and then it starts kind of running off. See, you can you can just click and let it figure it out on down here little bit. Okay, this is this is not bad. Just a little bit here, quick here and yeah, it's hard to tell what is what is her and what is What is his What is his jeans. So I think this is pretty good. Now, another thing that you probably want to do before you continue want to do refine edge. Now, I'm not gonna go deep in this tool, but, um, I like on black. I can see pretty well what's going on here. Uh, you could do a bit of smoothing here if you want, and you can even shift the edge. You see, if you go outside, it moves outside. You can You can go a little bit inside just to make sure that your you're covering you know , you can go more. See these areas here, dark on dark. You can really see the lights parts. So this is a decent selection here, and what I'm gonna do is I'm gonna output to layer mask for this layer. Now, you could you could do a new layer with a layer mask or completely new layer. I like to have my mask either way. So I'm gonna do layer mask on this layer, Gonna click, OK? And this is what I have these two guys air basically duplicated on top of this. So, you know, this is just them. This is not a layer that we're going to blur. And, uh, now for the second layer, what we need is these two guys here. Now, you see there physically the closest. So again we can We can just do this. Uh, okay. These pants, her lights, This is gonna be a little trickier. Life to go in and make a selection carefully. Do a little bit of, ah, option clicking. There is the same with this guy. I can see his pants here. I can see his pants here and his shoes. This I do not want whatever that is. I want his his shoulder. I want this little area again here. I want a little bit of his head and let's see what else I need his iPhone this and I don't need this, so whoops. I need his pants. So I'm gonna pause this video while I make a nicer selection of these two guys in the back . And we're gonna refine the edge and these two guys the same way we can smooth it out a little bit, and then you can shift the edge again, see which direction you go, and you can see it. So you want to go in a little bit, make it a little tighter. Now you can see it's not perfect. You can see a little bit of yellow here. And you know these little areas Really? For the for the blur effect, that's not gonna be so, so important. So I'm gonna create a layer mask and there's layer mask. So basically, we have these two guys. Now you can see uh, here, let me had layer gonna add a black layer to the back where you could see these two guys. They look to look decent the, you know, selections pretty good. But when you add these guys, you know, some some new areas show up, and these are the kinds of problems that we're going to run into that Basically see, there's a yellow outside. And once you had to blur these, these lines are gonna give us a little bit of a hard time. So, um, let me again To save time, I'm going to make a selection for three and four. So three is gonna be the woman in the wall, and all these wall pieces disarm here and this guy in the back. And then four is gonna be everything else. But I made mass number three. So let me show you again. So I would command click on the first Commander Control, click on the first mask shift, Commander Control, click on the second and do the same with the third. Now all of these three are selected. So what The 4th 1 will be is the inverse of that too. So I'm gonna shift control or shift command I to inverse selection that select in verse and then I'm gonna click on the mask. And now I should have this layer only You can option click to solo a layer option or halt. Click. So once in this layer, you can also option or halt click on the mask to see the mask itself. So I can I can actually take the brush black brush. So you have to swap these. I'm gonna use the X key to swap hopes X. You want to use a black brush? Some. I just need to get these areas here with a brush and and then the rest. I just get under this and then the rest. I'm just gonna grab a marquee. I m and I'm gonna select all of this an option. Delete or Ault backspace these areas with black because I don't need that. There's a bit of boo boo here, but yeah, there it is and X with the white. There it is something like that and click back on the layer and you will see your actual area So here's the 2nd 1 hand. Here's this world, really the 3rd 1 and the 4th 1 now again. Like I said, you see these areas? Here they are, Ah, part off not of the first layer, but off the second layer. See, you don't see it in the first. It's only when you bring in the Sorry, the the third. I guess that's when that happens. I say this without the black so that there is a little bit of a bleed. Now that's that's the biggest issue with this. With this technique again, it gives you the most control. But this this concert only be be a problem. So what you need to do here is to deal with overlapping layers. You have to extend the mask here so you will grab a brush and you can grab a white brush here and go to the mask of delayer in the back and just simply extend the mask because, you know, this layer was done based on looking at the layer under, and they don't have to be. So what's worked. They don't have to be so sharply divided here, you know. So you just look at which which layers are overlapping. So this would be layer four behind it. This this is therefore and then there's layer three. This guy back here and then again would layer four around this had to see that halo. How disappears so overlapping areas can be a problem. I think this is layer three. Yep. On four would be on this side not much of a difference. Then You have four in regards to layer three here as well. And that's how you touch up. This now may be the same issue between two and three. One and two, actually. Let's look at one in two. So layer to we're gonna extend the mask a little bit. There it goes. See? So you know you can Once you the more you do this, the more you do. You will develop a feel of how much you know what not to do so so you don't do any unnecessary work. Now, this is a big thing for photo shop is that you may end up. Obviously, this is a mistake that should be here. You may end up doing touch ups that you don't have to be doing. So that's that's something to consider. And, uh, this is one situation like that where wasn't really necessary to do it like that. But you don't really see it until until you see it, right? So his layer three extent between their two you just look for these areas and see where there is overlap. And I think this is pretty good now and therefore anything between three and four. So you can go to four and do it like this now, Like I said, this is an old school technique, but, you know, there's really it's going to depend on them on the photo. It's going to depend on the situation that you have. And there's our area now. Area one, we could have also ball doesn't matter, cause we're gonna have this this in the background. We're gonna show it since it's missing here, and basically it's gonna be like one we could add, really. But just so we don't cut around this guy, you know, uh, what I was going to say we could we could add the selection to layer one, have anything that we're not gonna be blurring, which is this whole floor. But we can just add it by including the original image because everything else is over it. So that's the selection. As you can see, you know, that is always, always the trickiest part. Now imagine if we were dealing with all the hair here, we would have to do things like, you know, refine edge and use a smart radius and, you know, do do a little bit of, Ah, off selection here and let it pick up and look for the hair. You see things like that. We're not doing that. It's really not necessary for this. So that's the selection. And now let's deal with the Blur. 3. The blur effect: And now for the blur we can We don't wanna affect layer number one. That's just there for us to not touch it. And we could start with would layer two. And basically, here are the challenges. Uh, first, you probably would wanna have a backup, in case you don't like the effect now, ideally, you would want to use with I'm sorry. You would want to work with the with a smart object layer. Right. So what what you could do? You could duplicate the layer command or control J and then convert that copy too. Smart object. Now you have a backup with the mask and you have this copy and you would go say for you know, the famous or infamous Scouse. Simpler now, Gaussian Blur. You know, the good thing about working like this is that this would give you an option to go back and fix it. So let's say you you you add, uh, whatever. Let's say, let's say you do 10 pixels and you say okay, and then you realize that it's probably too much. It's really easy to change because then you can double click on Gaussian and reduce it right. But the problem with Gaussian filter is that when you're working on selections, when you're not working on the whole image, you get some weird. You get a weird effect because you see the yellow parts. See this here? This is what you see. You can see here. Um, those parts get blurred. You see how they kind of bleed outside. It considers all the pixels that are there now, even you know, those in neighboring pixels. Now, we did cut it, but we had to add a little bit mawr back with the mask, remember? So you know, you could potentially just, uh, go back and really tweak this mask so you don't have that much yellow. You know, you could take Let's let's throw us this way and click on the mask. And now we have a hope. Sorry. Be for brush and make it smaller X for black. I'm switching these with the letter X. And you know, you could you could go like this. Maybe maybe a little softer brush, but, you know, there's still a touch of yellow now, this is not that much. So maybe maybe this will be fine, but this is just mawr manual work, and that's not really what you want. Right? So all this, you kind of trying to avoid things like doing things like this, doing too many, you know, too much work like this. So let's put this back. See, now I can see that black again and, you know, it's it's tricky. I went too far. So I have to acts with the white Andi, go back in here now, And that's a pain in the butt. You're kind of going back and forth with these selection tools. You don't want to be doing that. So, um, what you can do is use a different filter. Now, that's gonna help you a little bit. So let's let's undo some of these. Go back to how it was amusing. Uh, old commit. I'm sorry. That's option Command Z or alter Control Z. I'm just go stepping back in time, and there we go. So what you can do instead is again I would duplicate this, uh, this layer to have a backup. So, Commander Control J. I have a copy. Gonna leave this one on, and then I want you want to go to Filter. You know, I duplicated because I can't make it a smart object. Now I'm gonna go to filter, blur to lens, blur. So in lens blur Well, I think we can turn it. I'm not sure what it shows. I think it just shows that one layer blurred lines blurt that Larry's selected. We're going to blends, Blur. And here in lens blur we can, uh, First you have to choose What? What's the depth map? How how you're defining this layer, you know, and we're doing it with a layer mask. So you see, when I when I turned this turn this up, I'm going to see C, including that area that's selected right? So you can If you do the invert, it's gonna it's God's going to do the opposite. So you want to have ah, blur focal distance. You probably don't want to go too far, you know. It gets a little it gets weird, but it's a combination of radius and focal distance. So you're just trying to make it blurrier. And then you did before, and you can try to remember the setting, so you have some numbers. So let's go with 50 15. And here's a preview so it's not a big difference. Maybe we can crank it up a little more. I think more radius is gonna give us. Yeah, 65. 16. And you can also look a more accurate. It can take a little more to render, but depending on your computer. No, this looks better. You know, this is just the first layer behind him. That's that's better than it. Waas. So we're going to stick with that. Um, there are other options here that I don't necessarily use. Speculum highlights this. This is we don't have any highlights, So don't worry about these. It's really these guys that are most important now. This will affect it. Also, like the complexity off the blur. And so 65 16 I'm going to say okay, and that's what that looks like. See, it's it's the blurred that we had in the background. So if you compare, this is how much blurry authorities. Now there is a little bit. You see, if you look in the back, you can see a little bit off that edge here. A little bit of the halo, Not really. The only way to deal with that is to do this before you get started before you. Um come on. Oh, it's your agent in the back. Before you go in, you would have to get rid of this, basically, see, And this is already slightly blurry here, and this is not the copy layers. It just grows. The whole yellow area grows. So what you have to do is really going with the with the stamp, for example, and you can click here, use the align stamp tool or, ah, see, you kind of have to use the stamp and and really go right right inside. If you use the healing brush, that's the regular healing balm brush. To undo that, he once once you're you've done that, you can You can make it smoother. But if you just want to get rid of the Yellow Sea If I do this, let me make it a little bigger. I do this. See? It's gonna mix yellow and white. It doesn't really remove it. So you kind of have to go in with the stamp first, and then you can used brush the healing brush to blend it in. Now you know this is total. We're talking how see, like you keep speaking up the colors that I don't want it to pick up. You can use the last. So sorry, not this one. You use a regular lasso tool to select what you want to deal with, and then it's gonna ignore the other the other colors. So I'm gonna I'm using J human brush, and now it's now it's much better and then drop this on. Used this to blend it and see again. It's picking up, so you know, it's it's quite a bit of work to get this to get this right. So you have to make these selections so you don't get that color bleed to see. It's still picking up the yellow on a too much option. Yeah, there's so much yellow in there that you can't. But you know, this may be good enough for the Blur itself may not be good enough for the effect, but it's it's good enough for the Blur. Now this will be visible so I can't leave that you have to fix that a little better. Now that's better. And, you know, that would be one way to kind of prepare before you see this. This is better than and then before. So if I went now and the same same tool on this one same sharp Lance blur. So I'm going to do Holt command F or option come out Control I for option control life that brings you back to the same filter. But with the new kind of new settings. And, uh, see now, now it's not quite not quite the same. Now it's behind these guys. So this doesn't really matter which is blurring him. Sell. We're gonna do OK here, and I think this will look better. See, it looks better than this one. He doesn't have that halo, but then this guy has its its pretty sharp. So it's a give and take. You know, it's it's one of the other. So what you could do is then you could use a big a big soft brush to go in the can be See this, or you could even you know I'm not a big fan, but you could use a smudge tool, even a very, very soft smudge toe on the edge. Off this, quite literally. The edge off this just blurry toe little bit. See this? This area well not inside. You want you want to go just right outside. So again, these air, You know I'm talking. I'm talking picky, picky here, very picky. And again, you still have the mask here that you can extend with the brush with the white brush to blend things and make sure everything's in place. And you can always If you have too much too much of this, you can always go here and add or just or subtract from from this mask is well, so you can, you know, blend things in like this. So really depends on how picky you want to get. That's always being issued. These areas are going to be tricky, especially. See this when you have areas of high contrast. Obviously, that's that's clearly gonna be a problem like this year. But, you know, for these kinds of effects, this is what what you're gonna be dealing with And, uh, you know, it's all getting blurred, so it doesn't doesn't really make such a such a huge difference. So we're gonna use I think, this bottom one, right? Which one is better? Think we cleaned up this one. So then two is off. So we have three, so we can do the same. I'm going to do old command emptory old control F or option command F c This lens blur like this and, uh, can do it from here. No, I guess not. So if I just do command f just going to repeat the exact same settings. But if I hold the altar or option key, it's gonna open the same filter and give me an option to change these sex. And now we're dealing with a background layer. Now we wanna crank this up to I don't know. We'll do. We'll do it like this. That's overdo it. See what happens. So focal distance, You know, we're over doing it so we can see the effect invert so we can see where it is. And let's do it like this. So we cranked it to 130. Now, again, this is gonna Oh, I didn't make a copy, So I'm gonna under this I'm going to let me check like this street. Sometimes you don't know what you're really undoing. You have to be careful. You Maybe you did a couple of moves. Maybe you you d selected or something and come on. And you don't really know what you did. So yet there is No, There is no lens blur. So I'm gonna keep this copy. No, I'm gonna work on the copy, have been open the filter, their mask, and we're gonna okay, this there it iss and then for the back. We're gonna do the same thing. I'm gonna copy work on the copy, open the filter and do an even crazier amount off. Blur here. And as you can see, it's kind of getting weird. It's in the backgrounds now. You only see that layer in the background and you see the same issues. You know, these areas they're gonna bleed over. But this is why you have this layer in the in the back of it. And years later, three. So I'm gonna take all of these and group them command or control G so I can have the moment one folder, And this way we can compare how it was and how it is now. So we you see the look, Look. Look at this guy. First, you can see that he's a little blurrier than look at the woman. She is much blurrier and the background. He's even more blurry and you know it. So it's all fairly even and really the only areas that you have to look out for these and that you have to either do some, you know, you can play with the mask and you know you can further weaken further, tweaked to mask if need be. So let's see, we can take the brush. We have the black brush and we have the mask here selected. Sorry, we need the white brush. We want this to be Boise, but then you basically showing more of this behind, which looks different, you see, So you just wanna kind of had a touch? Not that much. And you know the problem is that all of this other area I see all the ghosting that happens from that. So, you know, another take from this is that you can't do it too much the moment you start doing these, these areas that overlap and you're blurring them. You're increasing the number of pixels that exist in one place, and there's always gonna be leaking so clearly for you know, if I was doing this for the Web, I think this looks great, But if this was a professional photography or, you know, God forbid wedding photography, you know you want to be doing this stuff in the camera. You really don't want to be fixing later. But if we're talking about your family vacation photos of something like this, that's for the Web. This looks perfectly fine. Certainly looks much, much better. It really it kind of pushes these guys in the front. You pay attention to them, or you could you could even dis saturate some of the layers in the background. Just a touch eso that you know these guys pop, even Mawr. You can even add a little bit of, well, not saturation but vibrance to these guys now they're so vibrant already, it's not really necessary. But these are the types of things. The goal of off this technique is to make things pop out. And the touchy areas are these halos that happen around the areas that are being ghosted. So, you know, they're like I said, there are other ways to deal with this, but in this type of image where you have kind of layers of things, one way is to do that another way. You know, possibly Now, this is the kind of techniques that we would use in in after effects. If you were animating things, you could, you know, you could, uh, maybe make it a little bigger. No. So that would that would cover it. Now, it doesn't quite work, you see, because the two of them they move away from each other. Now, if this was one person you know, if we were just looking at the guy on the in yellow, let's look at him. You know, then it might be easier to kind of cover it up, right? So that that's one of the things that's possible. Sometimes clearly, you may need to come back and work on the on the edge, but that may help you cover up some of the areas. Now, I don't I don't really recommend this. I'm just saying this is another possibility that you have. This is certainly something that's done in, ah, video animation. And, uh, you know, I don't recommend it, but that's one of the things that you can do. And, um or, you know, you don't really have to do all three of these. Now you know, because already in the camera, these were different. All three of these in the background eso you could really just, you know, spend the time working on these two guys make that edge look really nice You can work with , uh, you know, we use the quick selection tool. You can use the magnetic lasso tool, which is great. Ideally, you know, the pan tool is the perfect tool for this. You can really yet to the edge. Zoom in. And you you play a couple of great songs, and while you do it, you really gonna make a great job out of this. You could also say that to selection toe to, you know, as a channel as a path and have this mascots well, that you can always touch up, always work with mask because you can touch it up with the brush and and deal with any issues like this. If if you see any hairs that are running away, you can always fix it. And worst case you can you can going to the layer in the background and fix some of these things. You know, this is all happening now. Behind his behind his hat so you could potentially just grab a stamp and and do something like this, You know, like obviously this won't work. It's in a line sample here, but, you know, you can do something like this and, uh, say this totally getting rid of these these areas here. Now, clearly, this is some of this is in the foreground as well. Yeah. See this? Some of it is from the foreground. So you have a combination of foreground and background, and, uh, but that's one of the ways of doing it. You go in with the stamp tool, and then you go in with with the healing brush and you smooth things out. And this is how you can get it to be really, really perfect, kind of. And let's us on. Then you can go in the front and maybe deal with the mask rather than the image I have, uh, black brush. And what's going on here? No, not really. I don't know. Let's see. Uh huh. Uh, the mask is the problem. Here. See, I just command or control clicked on the mask, and I can see that the mask is it's too visible here on then I can go back to this and keep fixing this. So go mascot mask. Ask. Yeah, This is not working. Gundy. Select this. The color is a problem. Black there is. And but now I'm seeing things. Oh, sorry. No, I was not doing the mask. So one thing at the time, you know you can go back and forth again. This is more work. But you see, once you look at the photo from from this distance, it's not really visible. This is something that I mentioned in the first lesson. Don't zoom in too much because you will be over fixing things. You don't want to do that. So, anyways, that's one way to deal with the Blur. You can use this image to practice, create a little project for yourself. You can try and, you know, just deal with two guys don't don't like, cut everything out. It's It's certainly a lot of work deal with the two guys and then used to blur on the back and see what you have to deal with. When you when you do the refine edge for the foot, their selection, you can Where's fine And you know how much you shifts things, you see, we run back and we were fixing things because of that halo. But then that affects the other layers. The less masks you have, you know, we have four. Basically, So we have more areas to deal with and keep it simple. I I was just showing you things that work and that don't work. So you could see what kind of problems you can run into him. What? One of the solutions. And they're not necessarily the best solutions. And it's always going to depend on the on the project you have. So anyway, so that was our one way to deal with with the blur and one way to add a fake blur to a photo, I hope that was useful. You learned a few things and please try it. And I will see you in the next course. Take care