Replace Studio Backgrounds in Photoshop | Andrei Oprinca | Skillshare

Replace Studio Backgrounds in Photoshop

Andrei Oprinca, Graphic designer

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2 Lessons (35m)
    • 1. Background Replacement Demo

      1:04
    • 2. Background Replacement Tutorial

      33:51

About This Class

In this tutorial I will show you how to replace black or dark grey background in Photoshop and keep every single detail of a model’s hair. It’s a very simple and quick technique that will help you save time and give you perfect results. The tutorial also covers basic color grading and eyes enhancement.

Transcripts

1. Background Replacement Demo: Hey there. Welcome to another photo shop tutorial, and this related to what I want to show you, a technique that I used to keep here without making any complex masking. And while like any other technique, it has its limitations and its requirements. I will use this model for this tutorial, and as you can see, it has a dark background, and it is quite common on photo shoots using a black or a white background. And that's because, well, it's a lot easier to remove in photo shop and in the center. I want to show how you can replace this black background with another background while keeping every single detail on the here. And I will use this image as you can see here as an example and well, I hope you like this technique, so let's get started. 2. Background Replacement Tutorial: Hey there. Welcome to another photo shop tutorial, and this related to what I want to show you, a technique that I used to keep here without making any complex masking. And while like any other technique, it has its limitations and its requirements. I will use this model for this tutorial, and as you can see, it has a dark background, and it is quite common on photo shoots using a black or a white background. And that's because, well, it's a lot easier to remove in photo shop and in the center. I want to show how you can replace this black background with another background while keeping every single detail on the here. And I will use this image as you can see here as an example and well, I hope you like this technique, so let's get started. So as usually before we start with the editorial, I want to show you the layers palette and what I've got here. This is a letter spelt that you're going to see you have a simple background here, and then I have a group with all the layers that contain the woman layers and then some adjustments because I wanted to change a bid the color of her dress on. Well, someone adjustments here, but, um, the rain part of the tutorial that I want to show you and also the shortest one, the quickest one is how to remove the background. And you will see it's really easy. But this technique has its limitations. And, well, one of the, um requirements is that your model is shot over a black or really dark gray background. Let me show you the the original image of Okay, so this is the image that I got. So you need to make sure that your model is shot over, um, a black background and also that, um, the hair is blonde or white or something. That or at least you have a flash on the back to kind of separate the here from the background, you can see this is a really high quality image and high resolution. You can see every single hair, and most likely he was taken with a tripod. So that's why I was able to separate um, two separated eso well from the background. And you can see even here, I was able to to keep everything there and still see the new background right there. And I think to keep in mind is that the background, the new background that you want to add should be somehow dark or have some details on the background so that some imperfections that you might see because the technique is obviously not perfect. But, uh, with a background like this, you will be able to, um, get better results. I want to show you also something here. Even this hairs here, um, can be kept with this technique. So, um, as you can see here, we kept everything. So let me show you how I did this. As I said, it's really easy once you have everything prepared. If you're a photographer, make sure I have everything set up and think beforehand how you're going to edit your image and that will make your job easier. So what I will do is unlocked. Well, not unlock. Deactivate this a smart filter and copy background doing our document and start doing it again. It copy merged on Let's go to another document here. So we have our main are back on, and our model that's changed the name of this to be G and this one too model. Okay, So, as you can see, the model is while has this really dark background. And this is what will help us keep everything. Um, keep all the hairs and everything, all the details. So what did you do? Is want to have the model in place, just duplicated. And make sure you don't move layers. You can select both of them and link them by right clicking and choose. Great. Not great clipping, masking out link wears. Okay, lean clears or just the select both of them. And lock the position and on the bottom layer and it's switched them. We will name the bottom layer. Transparent because of this will be our transparently which will help us keep all the hair . I will deactivate this later for a second and go to the top layer and create a little mosque for it. For this particular image, I will use the quick selection toe. Depending on the image that you have. You might want to use the pen tal and I'm only worrying about this Edges over here arms and this dress, your blanket work. Whatever this is, I will not worry too much about the hair. So, um, I will use this quick selection to like so And let's select a bit more of hair aren't like this. Okay, that's disliked this part on. Okay, I'm happy with selection, but of course, we need Teoh. We need to refine the add so I'll click. Refined edge and are shifty. Had just a bit increase the feather a little more, increase the smoothness and now increase the contrast to make the edges sharp again. And that's OK. Let's take a look at the edges over here. Everything looks OK. We lost some detail. We lost like a couple of pixels. At least see that. But this is what will help us see those. As I showed you right here on the woman's shoulder Here we will see those hitter back there . So don't worry too much about that on the output. All choose later, Mosque and click. OK, and I have my model mask that removed the background. Now we have to recover everything here, the hair and everything. And for that we will use the transparently er I will reactivate it and you can see the bag on the bed on here is black, and this in order to remove it, we will use the screen blend mode such a screen. If you have a neutral gray like 50% gray, you can try working with the soft light. And with the software blend mode, the 50% gray becomes invisible. But this is not our case, because if we choose soft light, the background goes away almost completely. But we lose the hair. So that's why I chose screen. And this way you can see the background is not does not disappear completely because you can see has that sort of foggy look there. But we keep all the hair and we can fix this. Um, I will create levels adjustment layer as a clipping mask for this transparent layer, and in order to get rid of the background completely, I will move the left slider, which is the shadows to the left. Until I get to this part where the graphics starts soon to speak on the graphic. And then, um, for this part here, which was a bit brighter. Assume there was a light here something I will move this a bit towards the right, but You have to be careful not to to move it too much because you will start to lose detail on the hair. So, um, only be probably like that. This brighter part here doesn't bother me too much. See that It just adds a bit more light on the ban on, so it doesn't really bother me. That's why I said it's important to choose a good background. And when you make this process off changing the blend with the screen and using levels make sure you already have the background on the image. Because, uh, it changes a lot when you use a different background or refuse a solid color. So you will see it a lot different here, and that's pretty much it. As you can see, um, me group everything here. Um, you can see the detail that we kept here on hair. But of course, we need to refine the top, the model Lear. But I think I removed too much of the midterms. Okay, Now I will go back to the model Larry because you can see we have this ugly mask you're and I'll select it. Get the brush tomb, leave the a passage and flew to 100%. Make sure the foreground color set to black. Use a soft brush and just start to remove parts off the off the mask here. So yes just starts to go away. We'll have to refine part of the off the hair here will paint back some parts of it, but first I want to make sure I remove every single part of the of the great bag around there. And then I'll come back and fix some parts. Now here comes apart. That's a bit trickier. Okay, so as you can see, I'm not worrying too much about the edges. And now I'll switch the car back to white and paint back with the brush that it's soft but not, and 0% hopes. Make sure paint on uh, well, they're a mosque and just paint back bars of the hair. Now, as I said, this image was, ah, near perfection. So that's why it works so well. But, ah, it it works as an example for this tutorial. So images that used I used this technique in the past so it does work. I'm not saying it's not working, but, um, you have to keep in mind all those things that I said of the black background and bright here. Well, that's bring this back here. And if I were to change the background now and use something like a sunny day or who knows , uh, you'll start to see problems on the mask. Okay, so we're going to faint back the hair here. You can use a lower rapacity if you want to. Kind of leave a semi transparent part. I like that, you know, then just gradually painted back in. Okay, so that's pretty much it. As you can see, we kept all here and let me show you those details there. So this And that's because of this over this layer here, we lost a couple of details, but we recovered those with the transparent layer. So this letter, which are name Woman, is the group that contains everything here. So, uh, this is pretty much the technique. As I said, it was really quick, but well, I'll keep adding some stuff here to get to the result that I have here, uh, me show you was this, um Okay, so I want to show how to go to this collar effect and everything. So if you want to keep watching, keep watching. But the technique for keeping the hair is Ah, that's it. So, um, the next thing that I added is between the bathroom and the woman her I added ingredient where agreed. And Phil and I chose, um, foreground to transparent. And then I changed the colors here, Uh, I use the color like this, and then on the transparent side, I used, um a yellow color like this quick, Okay. And changed the style to radio. And I think I will use them smaller scale and change the blend mode of this the screen, but maybe choose different colors. Something a bit more unsaturated, a bit darker, like so and more saturated on the yellow side. Something like that on. Put it right here. Well, I'll leave the scale to 100 but I will decrease your passing It about 30%. Okay, leave it here. And just to have a bit of light there because you can see we have some light here on her shoulder and on the back over here. So I wanted to add a bit of light there. Next. Added on the levels adjustment and I clipped it to the woman group. So I'll right. Click and choose. Create clipping mask if you have photo shop if you have. If you don't have four shops here six you will not be able to do this because I think this was nearing full shops. CS six in photo shop CS five. You could not sleep layers to a group, but well, this case we can. So I will set the meters to 1.3 and the highlights to 243. And this will give me a bit more light well across the whole image, because we also have the background there. But, uh, we can get rid of the well. We can use levels this levels too dark and a bit more the background. Next I added a hue saturation adjustment layer hue saturation also clipped to the woman group. And I used this because I wanted to change bid the cholera for dress on DFA that we can use selective color ums call a range and just quick there to grab this part of the of the dress and then press and hold the shift key and keep creaking here to grab, um, more colors. Let's see what we can dio here. I don't want us like the background, but I don't worry too much about the rest of the of the background because I already have another layer mask. I'll show you that objective here is to get this party look white and keep the arms as black as possible. I think something like this will work. Click. OK. And now I have this other layer mask here, which I will now press control and click on it and it loads it for me. I'll select to stop one and a press. I have to invert it first, So select in verse And now fill this with black because I want to feel everything here. You can see how this one I want to feel everything like here, with black so often backspace to fill it with black. By the way, you can activate and deactivate the mask like this If you press and hold the old key on the keyboard and click on the mask And now I want to change the color of this All Jews colorize Of course, it will affect the woman as well. But we will fix that. And let's see what color I wanna keep the same color, more or less and maybe a little more saturated and something like this. Okay, now, as I said, this effects the woman a little as well, but we can choose the latter mosque, Get the brush stone. Here's a really soft brush on, and with this, a passage e 38 and 43 it's okay. And just start painting oh, her skin to remove to remove the effect, especially, or her eyes, lips, arms, especially close to the shadows. I'll increase the hardness and go as I get closer to the edge is because it will be harder here, too, to remove the effect. If you wanna have a completely different color for this, uh, dress here, you'll have to be a lot more careful on the edges because, um, right now, if I do something like this, it's not that visible because you can see the color is really close to the original. That's why it's not really that visible. So be careful with that, uh, the reason why I do it like this because I don't want to spend too much time here. The objective here was to show you how to keep the here. But I also want to show you some of the adjustments that I maids to this image. So right now, if I If I reactivate the mask, you will see that it looks quite horrible, I guess on I'll finish. You know, I'll do it just, uh, just to show you. Okay, let's reactivate the mask. And you can see how it looks. Have this view. It will be a lot easier for you to to paint over it and leave everything perfect. Okay, let's go back to the normal view. And I have the dress there. You can see the before and after. Okay, Next. The added. A greedy in map on top of everything. So greedy it map said the blend mode to lighten. And let me give you the colors that I used for the shadows left side of ingredient. I used the color code this color coat which gave me this dark blue. Then, for the highlights, I used another caller, which is this, um, light green click. OK, click. OK. And then I decreased the capacity of this limited 35%. Okay. And this is what gave me this sort of look, which I don't like it and it brightens a bid. The whole image. Next, Another greedy in Phil. Um, let me give you the code that I have this it's forward to transparent. So I chose the same color for both. Well, for there for the whole Grady in its 12274 D. Okay, And then I'll copy this code and put it here on this other side of ingredient. Okay? And click. OK, again. Shoes changed the style to radio and that I chose in reverse because I wanted to have this sort of transparent part of the Grady int um, over the woman's face. Maybe a bit higher up. Not too much 110. Me Greek. Okay. And then I changed the bland out of this too soft flight to increase the contrast on the sides and decrease the opacity to 35%. And let me show you the result. Okay, before and after, we added sort of like a vignette. But see that on the side there. Then I want to add a bit off collar on her cheeks. So I added a solid color. And, well, first I have to sample it. Ah, I think I sample the car from her lips. Um, something like this. See this color? So I use this color, fill the little mosque with black to hide everything. And then I changed the blend mode of this of this little just overweight. But well, it depends The blame of the reduce your depends on the lighting of of your image On this case, overlay worked well, I tried others and it didn't really work that well, so it's kind of it kind of depends a bit on what you have. Um, increased capacity on flight 100%. Here's a big soft brush. Well, actually, we can use the lower rapacity inflow and just bring the effect in instead of painting it on , then bringing it back out. Soc change the full run color to white and paint on this layer mosque with white. With this low past a t and low flow brush like that, of course it is. A fact is too extreme will decrease the bathroom or something. But just have it there like that and probably we could choose a darker tone, because here, the effect was not really that visible something like this. That's that's why I like to use solid colors instead of feeling the later with the color. Like this solid car. Because you can change the color. Whatever you want, you can choose whatever you like. I lived this one, and of course, the fact is too strong. So now switch back to the black color, increased the brush size of bed so that I have a smoother transition. Lower bit capacity. Now, this is not high and retouching or anything like that. Uh, don't send comments for that. Um, I just wanted to change a big toe look of the image. Death it. Okay, remove the effect from some parts of the image. Maybe decreased the pass it a little. Just a touch. Okay. And the next thing that I did is I added vibrance adjustment layer. If you don't have vibrant, you can add saturation. And I added the vibrance of 30 and set tradition about five or something like that, depending on how colorful you want to have it. Okay, you can see the before and after. Well, not not not a big change, but definitely some change, especially on the skin and then a dodge and burn later. Because I wanted Teoh enhance a bit the eyes. So, um, I will create a new Lyra. Go to add it, Phil, bring my microphone a bit closer. 50% gray and quick. Okay. And now change the blame. All of this gray. Later. You can see it was filled with a neutral gray. Change the blend mode of this too soft light, and you will see how it goes away. That's why I said, if you have, if you wanna get rid off 50% gray chills soft, light or overly has exactly the same effect. And now get the Dodge Tool. You can also use the brush to and paying with black and white with a low capacity. But I prefer to use the Dodge Tool exposure 10%. I think it's OK. And I will dodge the eyes a bit. Um, I want to also show you something how I changed color of the eyes. Um, it was not planned for this tutorial, but since I'm here, I want to show you that I just made a tutorial for? For the Photoshopped Creative magazine. They asked me to make it, to tell him how to enhance eyes. And well, it was not about changing color of the eyes. But I want to show you how you can do that here and now. Get burned too and burn. Yeah, the edges of the iris, The exposures to high sauce at 10. In one of the tutorials, I showed you how to change the values here without typing the nine. The number here in the box if I have this tool selected and if I press five, you can see the exposure changes to 50% and he founded the change to 5%. Have to press 05 and that's it. You can see it's as simple as that. Just type the number on the keyboard and that's it. Let's have the brutal right now selected. Okay, So if I switch to them to the Dodge Tool, I want to paint this the whites of the eyes. I can simply press and hold the bulky and just make a few passes here like that. And that way you can see here on the history I'm painting with a dark So even though I have the burnt toast like it and that's because I have impressing the the all turkey and with the Brent Alas, I wanna dark in a bit this far here and, uh, the eyelashes just a little like on eyeliner, like so you can see the before and after groups. My pen was going OK, do that. Let me show how I change the color of the eyes to make them look natural. So what I will do is so lengthy Political Marquitos like the I first I wanna I have to create a stamps or process used all command and e to create a stamp which will take all the layers and merge them into a new leader with the elliptical marquee to also let the I like So make a selection a bit smaller than the eye itself. About that big, then right, we can choose Feather Onda. About three pixels is okay for this for this camera size And since I have this new layer, hell can, right? We can choose later via copy and this new layer we will delete the that just want to have the eyes here and then do the same with the other one. So let the I layer to right click and choose their V a copy, and then I will delete this later. I needed to stand because if you do that while we have this letter selected, um, it will only copy if you do a Violetta copy, it will only copy this layer. And if you go to added copy, merge and paste it, it will not based it on the same location. It will place it some here in the middle on. That's not what I want. So, um allows, Like both eyes and control command e to merge them. And this is the eyes because I forgot to soft and that are I Let me do it again. Ah, Father. Three pixels. Okay. And letter via copy. Okay, we're good to go. Delete this layer and merge these two layers. And let's name these eyes now what to do next is create a hue saturation adjustment layer, creep them, clip this adjustment to the eyes and choose colorize. And let's say what I have green eyes. It's like this green color. And I changed the blend mode of this hue saturation to call her and then I decrease the opacity off the eyes layer, Let's say about 50% something like that. And now let's see. I will increase the saturation off the hue saturation and decrease the a passage. E of the is leader even more. And I'll tell you why I do this. Okay, Now I can change the color, do whatever I want, but it's still too strong capacity, some decreasing even more to about 15 percent. Okay, The reason why I decreased the a passage e of the eyes layers So much is because I wanna keep the highlights white if you increase the color If increase the you're passive you will see that the highlights become I start to get Connor from the hue saturation adjustment. That's why decreased capacity a lot and then increased saturation here on the hue saturation adjustment. On top of that, you will see that the collar is a lot more natural. Okay, maybe now I decreased you to be too much. You can also play with the lightness. Here you are. You can see the effects, the collar. Okay, Probably only this eyes to about 22% on, and I should use this layer mask to remove some of the effect. Because you can see I got some color here which I don't like, which I don't like, So I would probably retouched this a bit. Okay, so let's do this blue collar. Okay, So that's this is how I changed the car from this to this Well, and I think that I forgot to do is, um, blurb it the background to just focus a bit more on the woman. So I turned this into a smart object. Well, actually, I will not turn it into a smart object. I'll go to filter, blur inches field Blur, and with the fielder, it works a lot better than the Gaussian Blur. So that's why I use it. But the problem is that you cannot apply it on smart objects. Let's have a blur about of about eight pixels and click. OK, and here we have it finished. Image. Um I hope you like it. Let me group the woman layers already have them. The group here s so you can see that before and after. I hope you like this techniques. I'm under a from PSD box and see you on the next tutorial.