Lessons

Lesson Info

Advanced Masking in Adobe Photoshop

Let's explore advanced masking techniques in Photoshop. That means if you need to go beyond basic selection beyond painting with a brush on a layer mask, and instead you need to mask an extremely complex image. Maybe it's a tree with a little leaf and uh branch, maybe it's hair, especially hair that is being blown in the wind with blonde hair where you can partially see through it. And uh we might also take shadows that are in an image and make them see through so we can slide a new background behind them. So um here are the techniques that I use for masking in Photoshop. What I'd like to do to this image is replace the sky and it's supremely complex as far as uh the image goes. So you think that might be a difficult thing, but it doesn't need to be just head up to the edit menu and there you're gonna find a choice called sky replacement. And when this comes up, it'll take a few seconds to make a mask and then slide a sky behind and you can choose your sky from this pop up menu up here...

. And Photoshop comes with some skies. If you want to add some more, you can go to this little uh side menu and there you can choose something called get more ski and you can download some free ones or you can import some of your own images. In this case, I'm going to use one of my own images. And uh once you've chosen it, then you should just choose if you want to flip the sky horizontally or not. And if you happen to need to scale or reposition it, uh Here you have a choice called scale. And if I bring it down though, you'll see it won't be uh large enough, but I could increase its size in case I want the clouds to be a little bigger. I can also click and drag within the image to reposition it and I'm gonna put it right about there. Now, if you look, it's already doing a pretty darn good job. If I zoom up on this and you look at all these little bars I can see right in between them that new sky and just glancing, I don't see a major objectionable area at first glance. So let's look at the settings that are available. First up here, we have a choice called shift edge. And so if you find that whatever it is that was masked, uh if it looks too skinny, then you can move this in one direction or if it's too thick, you can move it in the opposite direction. And in this case, though, I'm more or less gonna see that in the highlights in here, I might see more of the sky appear and when I move it the opposite direction, I might see it get cleaned up. And so I think I need to move this way. Otherwise, uh, it ends up having what looks like almost a reflection of the sky within the, the structure that is here. Uh Then you can fade the edge and I'm gonna move down here where you might see that a little bit more because we have things that have more soft edges. And if I bring that up versus down, if you look over in this area you're gonna see, but it depends on the image, some images, this will be hardly noticeable when it's really complex near the bottom. Other images when it's more simple, uh you might notice a larger change and then we can adjust both the sky and the foreground. So I'm going to zoom out on the image and first let's adjust our sky. And so in when I look at this, the foreground to me looks a little brighter than what the sky would suggest. So I might end up bringing up the brightness of our sky. So it feels like it matches the overall feeling of the rest of the image. Uh Then if this image feels warmer or cooler than sky, I could shift the sky in this case, it might make it a little bit warmer and go maybe into about there. Uh Then after that, I can close this down and now we can end up trying to uh change the foreground. Now, you have two different ways you can do this. You can choose multiply which is gonna darken elements in the foreground or you can choose screen which is gonna brighten. When you first switch, it might look kind of ridiculously bright. And that's just because the slider here uh might be turned up a considerable amount. And so just think about, would you like to brighten things in the foreground to make it look like it belongs in the background or would you like to darken? And if you want to darken use multiply? And so in this case, I'm gonna use multiply and just move this around a little bit to see if I need anything. I also can try edge lighting. And if I, in this case, bring that down, I think we're gonna end up with what I like a little more. Just know when this is set to multiply when it says lighting, it's really gonna be darkening. Whereas when it sets a screen, it will be lightning, then we can have it adjust the color if the sky you're putting in is very warm and the image you're using it on is not. And that type of thing um moving this up should make the image look uh a little bit more similar to the sky. In my case, though, my sky is not dramatically colorful, it's not like it's a sunset or something. And so I'm not gonna see a huge difference here. Then down below, you can choose how you would like it to deliver the result. And if I choose here, I just can either work on a duplicate layer. So I just get it sitting there as a single layer or new layers, I always choose new layers because if I do, then I'll get a multitude of layers that I can fine tune. And if you look in here, each one of those choices where we had sliders to adjust the image, you're gonna find a separate layer in here. And so if I go through this down at the very bottom is the original picture here. It says foreground color. And that is what's I believe doing the color correction, then here's that foreground lighting which will darken up the image. And if you look at it, the opacity that is in here is what you were dialing in when you moved a slider. So if you decide afterwards that you wish you would have used a higher setting, you can bring that opacity setting up higher here after uh clicking OK. In the sky replacement screen right here is our edge lighting and that's made out of two parts uh there. And those also you can adjust the opacity of, and that's what you were changing when you were moving the sliders uh in the sky replacement. And all these are doing is reflecting the amounts you've chosen. Then here's the adjustment of the brightness of the sky and then the color of the sky. So you could go back in. And then right here is your actual sky. And with that being the actual sky, then right here is the mask that is limiting where that sky shows up. And so we can then turn off the eyeball on the whole thing. So you see the original, turn it back on and you see our result. And if you want to, you could fine tune this mask. There are a bunch of things you can do to fine tune the mask and I may show you that, but I'll show it to you on a different image once we get into other techniques, but you will find that it has a tendency of wanting to fade the original sky into the new sky, especially down near the bottom of the image. And if you have any very complex things like trees, the center portion of the trees in between the leaves and branches, it's likely going to use. It's a good portion of the original sky. If I look in this one, I can actually view the mask by holding on the option key, Alton windows and clicking on the mask. This is what it's using and you can see what I'm talking about with that fade out in there. But overall, it's not a bad mask. If you look at it. Overall, uh as far as this complex image, let's move on to another image. I'm gonna use the move tool, click on this image, drag it up to the other tab. Here's the document I want to put it in. I'll just drop it in and I'm gonna start off with it big like this. And I would like it eventually to be smaller, but we're gonna notice more defects with it if we work with it when it's large. Now, there is a choice under the select menu that is called select subject, but I find that it doesn't usually produce as good of selections as one of the other tools we have available. So let's see if we can compare that. I'm gonna add a air mask right now. So you can see what this looks like and I can see the old background color between all these hairs and they look just kind of cut off eventually. Same with down here, same with on the tail and even in between the horns here. So I'm gonna duplicate this layer and then I'm going to clear out the mask and then let's see if we can use a different tool. Well, if I come over here and use the object selection tool, then I can click on that and it usually does a dramatically better job, especially when there's hair involved hair or fur. And so then I'll click on my mask here and I'm gonna select inverse to get the opposite and then I'll fill with black using the keyboard truck cut so we can see what the end result is. And right now we're seeing both of these on top of each other. So I need to hide the one that's underneath. And now if you look at these results, I noticed that in between these horns, it did a better job. And in between the hairs here, I see less of the background appearing, but still, I think it leaves a lot to be desired. So let's figure out what can be done with this. Uh So first off, I would usually come in here and I'll choose undue until we're back to the original image here. And I'm gonna use that object selection tool to select this. So at this stage right after I get a selection, if anything is furry fuzzy, hairy or partially transparent, then I would go to the select menu and that's where I'm gonna find a choice called select and mask. And I believe the default setting would be this view which is known as an onion skin where you can see a hint of what's behind it. Uh And then you see the main image in full uh contrast. Well, I like to change that. I'm gonna go over here and choose a choice called overlay, overlay was going to look like quick mask mode. And so when I turn that on, I can still see a hint of the background on the original. And now I can see how closely that red aligns with the actual contents of the image. Now when you're doing this, on the left side, there are some tools and if you find that the uh original selection was just bad in some places, you could use these tools to change it. If you look at the very top here, this is the quick selection tool, the same tool that you would find in your normal selections. Uh And down here, we have the object selection tool. So if you're used to using one, those like here, maybe I tell it, I wanna add this little nostril that's here because uh it was skipped and I was able to add it. And just like when you're using the normal tools in your tools panel, you have your options bar up here, just know that this is gonna have its own set of settings. So I believe I had mine set to lasso so I could draw free form shape and it wasn't set to that when I came into here. Uh So anyway, you have those two tools, you also have the normal lasso tool in here. And this tool which is just like a paintbrush where you could take away from or add to uh this mask or the red overlay. So you could think of it as being like in quick mask mode in painting with a brush. But the tool in here that really helps when it comes to furry, fuzzy, hairy and transparent things is this one and that one is not available in other areas of Photoshop. What it does is it's a brush. And if I come over here uh in paint, I'm gonna give Photoshop control over the area where I paint in, in essence, I'm asking for help in these areas where I paint. And as I paint, it's going to refine the edge of the mask that's being created. And so I'm just gonna paint across areas where I can see hints of the background still clinging to the subject or where it looks like the subject has kind of gotten a haircut where it's uh missing some information. And so I'm gonna go down in here because there, I think I see hints of the background and I'll get a smaller brush maybe go right across that area and right through here. And then there is a way that you could have it do the equivalent to painting all the way around the edge in here by a certain amount. Because if I look really close, you're just glancing, I think I can see just the tiniest halo there. And you do that in here, there is a choice called edge detection in there. You just bring the radius up to say how wide of a brush would you have painted with if you were going to paint all the way around the image? Most of the time for me, it's like one or two pixels and that's going to improve any edges that have just a slight fuzziness to it. If the image has a combination of extremely crisp edges and fuzzy furry and hairy ones, you could turn on this check box and it will attempt to keep the CRISPR areas looking better uh by just spending a little more time with uh the way it's making its selection. But at this point, it's hard to tell how good this is because the red surround which looks like quick mask mode makes it hard to evaluate. So if I come up here, there are other choices that I could use. If I want to be the most critical, then I would choose on white or on uh black, either one of those and each one of these will have an opacity setting. So when you click on it, let's say here I go to on white, uh just make sure the opacity is turned all the way up. So if yours looks different than what I'm getting, then you would want to turn it up. And by doing that, I've revealed one issue that I noticed with this and that is near the tail, there's a spot right there that shouldn't be showing up. Well, as long as I'm still in that second tool, the one where I painted to give Photoshop control over an area, then I can take away that control if I hold down the option key, Alton windows. And so if I see any area of the background showing up, uh and it's most likely because I painted over this area, then I'm gonna hold that option key and I'm gonna just click like that and that just took control away from Photoshop and said, no, go back to the original selection for that part and that helps it calculate what the edge should look like. In this case, I think the rest of this is looking pretty darn good. I'm just looking for any uh issues right here on the edge. It might look like they're little chunks out. I could use this tool and attempt to paint there to see if I can get control. But if it's a crisp edged area, this tool is not that great for it. So I might end up choosing undo instead. And if that's actually missing information, I could come over here and use any of these other tools I could use my object selection tool. Uh And if I just paint around this to say, find that edge, I can see if it will improve it. And if I get out of that tool, uh then yes, I think that did. You can also go to just the plain brush tool here and manually brush things. If you just paint, you're gonna add to this. If you want to take away from it, hold down the option key Alton windows and then I could take away. And so I'm just gonna glance around this. I think there was an area right here that was missing so I can paint there to bring it back in. But the main thing that this is doing is trying to make this hair look good. Now, there is another thing that can be done to improve the look of those furry, fuzzy and hairy things and that is so far it has not attempted to shift the color of what's in there. And so when I look down in here, I think I can see the hint of yellowish stuff just kind of on the edges of the hair. It's not that it's clinging to the hair. It's that those hairs I think were partially transparent where you saw a mix of hair and background. Well, there's a choice down here under output settings called decontaminate colors. And what it does does is if there's an area in here that is partially transparent where you'd be able to see through it to the background, then it's gonna take areas from in here where it is not partially transparent and whatever color is found in here will get pushed out into the edge to replace the um color where it might have been a mix of the subject and the background and I think you'll probably notice it right down in here when I turn on. Decontaminate colors. Here we go and I'll turn it back off, turn it back on just so you get a sense for it. Now, decontaminate colors is not just a check box, it's also an amount slider. And oftentimes if it's turned all the way up to 100 the hair is going to look uh a little too generic. When it comes to its color, it won't have as much variation. So I usually try to find the lowest setting that does the the job. Uh But when it comes to this particular subject matter, the hair doesn't vary in color very much. So I'm not gonna notice it so much. Uh If I'm on a blonde haired like dishwater blonde person, then I'll probably notice it quite a bit. So let me click. OK, here and then I'll use my move tool and let's move this down a little closer to maybe where I'd want it to be and that's way out of proportion. So I'll type command t usually, I would have a smart object if I was going to be transforming. But for now I'm just trying to get this to look like it might be somewhat appropriate for this image. So he's not fully out of scale. But anyway, that's how I would deal with that furry, fuzzy and or hairy stuff. Now, let's come in here and let's do a sky replacement quick. I'm going to not adjust too many of the settings. And I do want to see if I can give you a sense for one of the techniques you could use to refine the results. Uh So I'm gonna go with this and click. OK. Oh And actually let me adjust the brightness because that sky looks really dark. So let's go here. Let's bring up the brightness for. So it feels a little bit more like it belongs with this picture and I might warm it up a little bit as well. Yeah, more like that. And let's see if there's anything else I could also look at the foreground lighting. Do I want to darken that up in multiply mode or would I need to lighten it to get it to blend in? And I think that is all right. Uh dial back this to see if those edges, you'll see it a lot more on this image because it has such fine branches. Uh And I think that's pretty good. We'll click. OK. Now, let's see if we can refine our results because there are some areas I don't like. If I look down near the horizon right here in this area, it feels rather grayish bluish and I think that is from the old sky. If I turn off the sky replacement. Yes, it's the more bluish color of the old sky and I see hints of it in other areas. So one of the things that you can do is I'm gonna turn off my sky replacement temporarily. And let's see what this image is made out of behind the scenes. I'll come on here to the channels panel and I'm gonna click through these channels. Each one will be a gray scale version of this picture. And what I'm looking for is where the sky looks the most dramatically different from the trees. So here's our red, then I'll click on green and then I'll click on blue. And once I got to blue, the trees became much darker and I think the sky also became brighter. So I think that gave us the best contrast between the sky and the trees. So I'm gonna duplicate that channel by dragging it down here to the new channel icon and we're gonna end up adjusting it to adjust it. I'm gonna come up here and use levels and in levels, there are three eyedroppers over here, only two of them will be available when you're working on something that's black and white like a mask. This eyedropper here is gonna force areas to white. It all it does is it pulls in this slider. But when you click on your image, what it does is inspect what shade of gray is under your mouse when you click and it simply finds it from in here and it pulls this slider over. So it's sitting directly above it So it's nothing magic with it. It's just a way to figure out where, uh, the slider should end up. What I'm gonna do is look for near the horizon where it is kind of the darkest area of the sky and the sky might not vary all that much. But the main thing is if it does vary in brightness, I would go for a darker area of it. So I'm gonna click maybe right about here and that's gonna force this shade of gray in any shade brighter than it to white. Then I'll grab the black eyedropper that's here. And I'm gonna go to the area of the trees and I could click on just an area of tree and it's gonna turn that in all shades darker than that to black. And if I want to work on more of it, I could go to a lighter shade in the trees and click there if I really needed to. Um, then after you've clicked with those two, you can move the middle slider and that will control the transition. And so therefore you can get it to thin out areas and that kind of thing. So if after clicking with those, I see something like this. Do you see gray in the sky? And I was trying to make the sky go to white, that just means the area that I clicked on was not as dark as this. I can always grab that white eyedropper and click again to say, no, make this in everything brighter than it uh white. It only thinks about the very last time you clicked with these eyedroppers and it ignores the previous clicks. And I might think that I went a little too far with for forcing things to black so I could back off on this a little bit, possibly. And then adjust the middle slider to control how thick should the edges of trees and things like that be. But let's say I ended up with something like this. I click. OK? And I'll zoom out to show you what we have. Well, there's way too much information in the foreground. Uh That is bright. We want the foreground and the trees to be black. So what I'm gonna do is first just do a very simple selection. In fact, I could just use the marquee tool and start outside the lower right of my image and go up this and just don't go any higher than where the trees really start touching the sky. So I think I'm pretty good right about there. And then I'm gonna fill this with black. So I'm gonna reset my foreground and background colors and there's a keyboard shortcut for filling with your background color. It's command delete, uh or you can go to the edit menu and you'll find a choice called fill and within there will be a choice for black or white. Then I'm gonna grab my paintbrush tool and I'll use a semi soft brush and then I'm just gonna touch it up right where that black ends. And I'm just, oops, I wanna get black and just kind of touch up those little areas where uh, the straight line ends and you need more undulating shape to get the transition we want. All right. And I think I got most of it there. The giraffe here if we want, but then if you look at the trees, do you see that here? There's white on the trees. That means that if we use the selection, we're gonna be able to see through that tree. And in fact, you'll find that the uh sky replacement. If we actually go and look at it, let me go back to it. I'll click on the topmost channel, we'll head over to layers and let's actually look at the mask it made. If you look, look at how light the trees are anything in here that is not black, some of the sky will show through, that means it's gonna show right through the bark of the tree and it's gonna do it a lot more back there and you see it here as well. It's also gonna be going through that uh giraffe. And so we're trying to do something where we could touch that up. Uh Let's stop viewing that and let's go back to our channels panel, which is where we were working and we were working on that blue copy. All right. So let's see if we can fix the trunks of the trees. The way I would fix the trunks of the trees is go back to the full color image and I would use the object selection tool. And I would hope that when I hover over a tree it can see it. And when I click, it would give me a selection, I'm gonna then hold shift and I'll click on this other tree and I'll see if it can get the smaller tree as well. And if there's any others, we might be able to get the uh giraffe that is there as well and just cry in general. I'm not gonna go for the tiny little trees because it is good at selecting the trunks, but it is not good at selecting the parts up here. If I type the letter Q to go to quick mask mode, it's gonna cover up the areas that are not selected with red and look, it didn't get in between any of those branches. Uh But look at the trunks of the trees, those look pretty darn good. So with this selection active, I'll return to the channel we created earlier, I'll grab my paintbrush and I'm just gonna use that to paint with black where the trunks are. And I'm not gonna get up into the canopy of the tree where um you would get the fine branches instead just areas like down here and I might get the giraffe that's there in the base of this tree. Not going much further than that. Because if I come up here and try to use it on this part, you can see that it's, it just had a full selection in that area. So it's only useful for the true trunk of the trees. All right. Now, let's see if we can use this to clean up the uh sky replacement. Uh What I'm gonna do is load this as a selection. There are many different ways of doing that. My preference is to put your mouse on top of the thumbnail for this channel and hold down the command key that's controlling windows and click on it. If you can't remember keyboard shortcuts, you could instead drag it down here to the icon that looks like a selection. Now, with that selection active, let's click on the topmost channel that always gets you back to the full color image. Let's head over to the layers panel and let's make that mask that is controlling where the sky shows up active. Now, if we were to actually look at that um mask, I'll option click on it. You can see that the sky that's in here where the area where the sky would be is nowhere near white. And that means the full strength of the sky is not showing up in here and you see kind of this fade out, which is very common for um this particular uh feature. And so I just want to clean up some of that. Uh I'm gonna hide my selection by typing command h because it's rather distracting to look at. And I don't want to be looking at the mask. I just wanted to show you what was in there. So let's option, click it again. So we can look at the image. Now, I'm gonna come up here and see if we can clean up areas like this. I'm gonna choose a soft edge brush so I can't tell where I stopped painting and I'm gonna choose white to paint with white is what it's gonna make that new sky uh visible. And I'm just gonna paint across this area that I don't like. And when I do it'll probably be way too strong. So I'm gonna do this. Uh Before I do, I have the uh Sky Replacement Group hidden, I gotta turn on the eyeball there so we can actually see it. Now, you can see what I didn't like, which is that area where the warmth of the sky didn't show up. So now I'm gonna click drag across there, then you see it kind of clean it out, but it's too much compared to the surroundings. And so all I do is right after painting and I need to do that paint stroke in a single paint stroke, not clicking and letting go and clicking and letting go. I go to the edit menu and there I find a choice called fade. What fade allows you to do is it's like adjusting the opacity of your brush but doing it after you paint. So when I choose this right, there's my opacity. If I bring it all the way down, I see what it originally looked like. And if I bring it up, I can bring in partial amount of what I had painted in. And I'm just gonna bring that up until it's no longer objectionable uh in that area. And I'm not gonna try to go for perfection. I'm going for, you know, just acceptable because perfection just takes so much longer and it's usually not necessary. So I'll click. OK? And I think I like that better if I were to choose undo twice, that's what the original looked like. And then I'll just choose shift command Z twice to reapply it. And I think that looks better. I can look at other areas like right in here. I'm not sure if it's gonna get into that area because that's really more the tree, but I can try and then fade, but I'm gonna have to fade that one way back. Otherwise it's going to be too much on the edge of those trees. Let's just see here. Um I might not mind it just a little bit in there. Uh Let's move over and we could try other areas, but you get the general idea like right here. I might not like it. So I'm gonna pin across and it's going to be too much. So then I fade and lower intel, it's just right and it blends the two together in a more controlled fashion. All right. So hopefully that gives you some idea of at least one method for refining your sky replacements. And so now we got an animal in there and we got a new sky. All right here, we have my sister-in-law Laura and uh I want to put her in this background. So, um because of the way this was captured with the shadow getting cut off over here on the side, I'll be limited in where I can place this, I'll have to place it so it's against the left edge, but I think that's fine. I'll may move her down to write about there. And what I'd like to do is remove the background, make her hair look good and keep the shadow that's here, that natural shadow. And so let's figure out how to do that. Uh So the first thing I would end up doing is get a selection of her. And I'm gonna do that using the object selection tool because it usually works much better than the one that's called select subject, even though they would select the same object. Uh This one usually gives you better results, especially when it comes to hair. Uh Then I'm gonna go up to the select menu and that's where I'm gonna find select and mask. And that's what I use anytime I have anything that's furry, fuzzy, hairy or partially transparent. Now, I'm just gonna remember the last settings you used in here when it comes to your preview mode. And so the first thing I usually do is I use that red overlay that looks a lot like quick mask just so I can get an overall feeling for how good of a selection we have. And I'm not gonna pay attention to her shoes or dress that kind of thing because those aren't the hard things to mask. It's her hair. And so let's take a look at her hair and see if there are some issues. And I see. Yes, there is. Why is there red over this portion of the hair? But not over here and it looks like it's, I don't know, like striped there. Well, that's where you wanna take that middle tool. I call it middle. It's the second tool and give Photoshop control. And so just say this part right here. I don't like. So you paint over it and as you let go, it will refine it. But that area that I painted over can improve further if I come in here and paint over the other areas that are having issues because what happens is the, it thinks that the area outside the original selection contains only things that should be discarded. And if the original selection did not include these hairs like right here. Then it's confused because it thinks the color of hair should be deleted in this general area. Uh And when we end up painting like this to give Photoshop control, then it can inspect that and it knows that the area that I'm painting on with this should not necessarily be deleted. It should instead be evaluated to figure out what to do. And so what I wanna do is paint over all of the areas where there is a mixture of the subject in the background where you can partially see through it where it's super complex in the uh transition. So over here, I see all this red covering up the hairs. I'm just gonna come over here and paint over that to give Photoshop control of those areas. And when I let go, you see a little bit of it, of it when I'm actively painting. But when you let go is when the true uh refinement happens and let's come in here and down in here and it's a little hard to tell what to do with her earrings because there's hair mi mixed in there and you can also see the background in between. So I think I'm just gonna paint over it to give uh Photoshop control over that. Uh So anyway, this is what we have right now. What I wanna do is see where have I painted to give Photoshop control and you can do that by turning on this chat box called show edge. The check box is mainly useful when you're in this red overlay mode. If you switch to something over else over here, it'll look a little bit odd and will be more difficult to interpret. But with the red overlay, it's really easy, just turn on show edge. And now the areas that don't have red on top is where you've given Photoshop control. And so what I'd end up doing is I would look at the outer part of the red, the part out here and see if there are any hairs that extend out into there and if there are uh paint on them, I think there might be a little few strays right there. And so if you missed any or there's any like little red gap like that or like little part like this that might be touching hair, uh go in there and get rid of the red. Give Photoshop control of those areas right here is where I need to give it control and maybe right here a little bit right there. So now Photoshop I think has control over the vast majority of places where the background in the subject are mixed together where it would be really difficult to isolate except for right there. I was missing a spot and there's a few spots like right up in there, it wasn't going far enough. And right here, if there's any hairs in this red, get it out of there. I don't know if there's a hair there and right in here where those edges would have background mixed with subject. All right. I think I'm doing pretty good now. We've gone all the way around and I don't see any hairs extending out into the outer, uh, red area. And then when I look at the inner red area, I'm looking for any hint of the background. And if there's any hint to the background showing up, I wanna come there in paint and the only area I see is right here. I could have missed a spot possibly right there. But otherwise I think I have it good. So if that's the case, then it's gonna think of this inner red zone is what should be kept. It's gonna be thinking about the outer red zone is what should be discarded. And then it's gonna be looking within this area where we painted in comparing it to those two regions. Uh I really wish that they would color the middle portion here green to indicate that will be kept because it looks at the original edge of the selection and it's, there's two red zones and it's like on each side. And uh if I just mentioned the inner and outer red, it's kind of confusing because you don't see any separation here, but it would be separated by the actual selection anyway there. It got what I want, I'm gonna turn show edge off. And now if you look at the hair, it's looking relatively good. I'm not certain about this area because I can see a little hints of white in there. Uh So it's hard to uh interpret, but let's see what it would look like on a more critical background. I can come in here and well, since we put this on top of the layer that I'm gonna have it on, ultimately, I might as well choose on layers because now I can see what it would look like on that specific background. And I think that the masking of the hair isn't terrible, but I would say that the color when I see this hair here, it doesn't look even like the right color at all. Well, that's where the choice called decontaminate colors come in because if this is an area that was partially transparent where the subject in the background were intermixed, then we still have that same color and it hasn't done anything to try to fix it. It just tried to hide areas. So let's turn on decontaminate colors and see what it does look at that difference it's doing there. Uh Then just know that the highest setting isn't always the best. Sometimes you get more varied and natural looking hair if you have a lower setting, especially when it comes to blonde hair. But I'm thinking we're starting to look pretty good at this setting. There's still a little touch up. I'll do afterwards, but I'm gonna go for this, I'll click. OK. And now let me show you a adjustment that I make that is specific for uh brunette hair. And even before I do that, let me turn off the mask for this layer just to show you what that Dean decontaminate colors uh did. So first look at the original and you can see where the hair stopped. You see the color of the hair up to the edges, then look at what this looks like with the layer mask turned off and you'll see that it took the color of whatever was in here and it pushed it out there into those areas where those transparent hairs would be. The only problem is when it got down to this area, I think it found the color of skin. And so it pushed that out there. And so this looks more like the skin tone does. And so we will likely need to adjust this. Also, I noticed an issue right here on her neck, this kind of stair step thing. I think there might have been some transparent pixels there and it shifted the colors and it got the colors from the hair. There might also be the issue there. So that's where why you want to keep a copy of the original. I'm actually gonna make a duplicate of this because we need the rest of it for a different purpose. And uh if you hold down the option key, when you move uh a layer up and down on the layer stack, it'll move a copy. And so what you can do then is um if you need the original colors to come back, like you might need right here, you might need it on her shoulder and you might need it there. Uh What you can do is make it. So this, which is a copy of the original is clipped to what's underneath. Let me just turn the mask back on by shift clicking. Uh But the way you clip it to it is you can go up to the layer menu and there's a choice called create clipping group. We used that before to make a picture show up inside of text. It makes whatever the layer is you're currently working on only appear where there's information on the layer below. So I'm gonna choose that and then let's turn on the eyeball for this layer that will effectively turn off that decontaminate step in. Now, if I look at her neck and I look over by her shoulder, I like it more so I can add a layer mask to it. And I'm gonna add a black one. If you hold option. When you create a layer mask, you get a black one, which means it's not applying anywhere. And then I can come in here and paint in the original colors wherever I think they would help the image and I think it's primarily in those two or three spots and it's rare that I need to do that, but it's nice to know how. OK. Now let's do the brunette specific adjustments. What I would do is create an adjustment layer on top and I'm gonna use levels. And what I'd like to do in here is first clip, this adjustment to the image that's underneath so that it doesn't affect the background. It only affects the person. And I can do that either by going to the layer menu and choosing the option I did for the layer underneath which I think was create clipping group or just click this icon right here. And when I do that's gonna cause this little down pointing arrow to show up. And that means that this adjustments only gonna affect what's right down here. What I'm gonna do in here is I'm gonna take what used to be white in the picture and darken it by moving this and when you do all it's gonna do is darken the picture in general, but it does it starting from whatever the absolute brightest area was. And so I'm gonna be looking maybe right here and right over here when I do it to determine how far I should move it and I'm gonna ignore the rest of the picture. OK? I think right about there. Uh We're doing good. I think this hair is starting to look better. This hair is starting to look better if I turn this off and back on again. Ignore most of the picture. Just look at the hair. Then I'll take the mask that's here and I'm gonna invert it with command. I that's control I and windows or you can go up to the image menu, choose adjustments and then invert and I'm gonna then paint this in with a big soft edge brush just gonna paint with white. And so I need that right here. Need that up there. I might need it in there a little bit. I definitely need it there and see where it helps. You don't need it everywhere. It's just gonna be in the partially transparent. So let's see what it's doing now that we've masked it, I'll turn it off and back on again, off and back on. And I think I might also need it in here where the earring was. I don't know that that was all that accurate. So we'll get it in there as well. So I'm not minding the look of that hair now. So what we end up doing, well, we used the similar technique to what we had used on that whatever kind of animal it was to get his fuzzy hair to look right. But then there were some areas where it didn't like what decontaminate colors did to the image. And therefore I put a copy of the original image on top that copy has its little arrow pointing down, which means it's clipped to this layer so that this is only showing up where this is. So that means this mask is also masking what's above. Uh And so then I put a mask on it to say I don't need the original color everywhere, but I do need it in these few spots. Then above that, we have a levels adjustment layer that's darkening the brightest part of the picture and we've painted it in. So it only affects a small area. You can also go here to the mask and fine tune it as much as you want. Uh I might grab the brush tool and I'm assuming that area that had the colors looking odd in her neck was because her neck might be partially transparent. If so I might paint with white on her neck to see if I can bring that back. And I could do that same kind of changes in other areas, bringing them back in any other area that really needed that color fix probably has some transparency to it that you might need to bring back. All right. Now let's shift gears. She doesn't look natural standing there because the sun is out, but she has no shadow being cast. So when we ended up using select and mask, it usually creates a duplicate layer so that it will not harm your original. And so down here is the original and we're gonna start working on it. Let's turn the original on, it'll be underneath the other stuff we've done. So you're just gonna see the background here. And what I wanna do is get that background to print as if you used ink. Well, if you think about how would you print a background like this? Well, right now this background is not white, but we're gonna adjust it until it becomes white. And if you want to print white on an inkjet printer, you don't use any ink at all. And therefore, if we use a blending mode called multiply, which acts like ink, any area that's white is gonna disappear. So as long as we can adjust this to get that background to be white, then we can get it to disappear anything darker than white though will darken the image that's underneath as if you're printing some ink on it. So we'll keep the shadow in there and it's gonna print just like ink. Let's do it. All I'm gonna do is change the blending mode of that layer to multiply. And now I can see the shadow in there and all that, I just need to do it where this edge here in the background as a whole um don't appear. So I'm gonna adjust it. Let's just come in here and use levels when you use levels from here. Instead of using an adjustment layer, it can only apply to one layer and that's the layer that's active and I'll bring this over and see if I can find a position where most of the background seems to disappear. Now, some of these images will have kind of a vignetted edge where there might be a shadow coming in from another spot. And I'm not gonna get rid of all those because I can always come in here and either use the eraser tool or just grab the paint brush and paint with white and wherever you paint with white on this layer, the layer will disappear. So here with big soft brush, um I see down here there was a little bit on that corner that I might um get rid of and otherwise I'll turn this layer off and back on again and see if I can see any of the background showing up. I can see it in one spot, which is right about here. It was getting darker. So I'll paint with white there. Now, we're working on a layer underneath her and so I can paint right up her uh to her, I can paint right across her. It's not gonna matter what I don't want to do is paint where the shadow is being cast and I just did that a little bit. So I chose undue, I'll turn this off and back on off and back on. Now, there's gonna be another advantage to having that in there. Let's go up and look at her hair once again. Now what we have here underneath is the full original version of her is still there. You can see it sitting there if I hide the layers that are above, it looks like this. It's printing her on the background as if you're using ink. Well, then we stack these other versions on top and watch what happens when I hide this and show it. Look at her hair before, after you see it kind of thickening up all sorts of ways there. Well, that might make some of her hairs too thick. And if so you could mask this or you can paint with white, but in some areas, it's probably helping it out. I think it's helping it a lot right here and it might be helping it out on the edges. So I'll add a mask and I'll paint with black in the areas where I don't think it was helping. So I think that it wasn't necessarily helping right up here. It wasn't necessarily helping in there, but I didn't mind it in the other areas. So now let's see before after, yeah, I don't mind that. So now we have this shadow and uh when we have that shadow, I didn't even mention it when you're in levels. And uh I can go right back into it. You can also darken the shadow. If you either grab the middle slider and push it around, you can darken up that shadow or if the histogram that's here doesn't go all the way across, you could have pulled this in, but mine does. So just that middle slider and I could dial it in until I think the brightness is just right then for those of you that do work for multimedia and other things, you might need to get the subject of a photograph isolated with a shadow. But you don't want a background because someone else is gonna put it on a background for you and you need to deliver it to them in the way they want. So let's see how you could do that. I'll turn off the background. And when I do uh the problem is you, we were using multiply mode to get that shadow to print on top of the background and I might need to use something else if this is from multimedia. The first thing I might do here is paint with white or um or paint on a mask. And right here, I can see the edge of the shadow right on the edge of the photo. I would want to get rid of that. It looks like I have a mask active right now with a big soft brush. I'll just say, hey, I don't want that shadow to end abruptly. That's just the way it was photographed. All right, how can I get this mask to be truly transparent? Well, there's a trick uh we can load the brightness of this picture as a selection and the way you do it is you come up here to the channels panel, you end up coming to the topmost channel. You hold down the command key controlling windows and click on this little thumbnail picture. When you do, you're gonna get a selection based on the brightness of your picture where areas that are white are selected and areas that are black or not and any area that is a shade of gray will be partially selected based on how bright it was. And all you need to do then is choose inverse to get the opposite. And now you have all the dark stuff selected. So then let me hide this and show you what we can make out of this selection. All I'm gonna do is come in here and make a solid color layer that means a layer that is full of some color and I'm gonna make it. So it's black click. OK. Uh And I'm gonna use that as a replacement for my shadow. So I'll come in here and I'll still turn on the layer that she was masked on and I can still turn on the uh version here that brought in the original colors and I can still turn on the version that used levels to darken the edges of her hair. I just wanna turn off the layer that originally produced the shadow and turn off the background itself. So now that is a truly transparent shadow where that could combine with something that's for instance in a web browser where the background is part of the code for the website and is not part of this picture at all. Uh And you can even if you need to simplify this image and just deliver it to somebody, uh you could come in here and just select all these layers that are creating this effect, go to the layer menu and just choose merge layers and that would combine them together. And if you didn't need the original or the background, just go ahead and throw them away and you could deliver that just like it is to whoever requested it. Now they could use it in a design uh where it's either they're used on a web page or it could just be brought into Photoshop and it could be put on any background. So if I choose undo it, I just turn that background back on, you'll see the the shadow is there. So that is how you can take it a little further. All right, let us do another one. This one is just repeating what we did with the shadow just so you can figure out the steps. So the first step is to get a selection of the subject of the photograph and often that's the hardest thing. But with these days, with the newest tools, it's usually not too much of difficulty. The object selection tool in a single click can often get what you want, but you need it to be relatively precise. And if I look at this particular one and I see that no, it included part of the shadow here and it didn't get the, the glass. Uh I want everything except for the glass and the uh white paper in the background. I could do that. Um Many different ways. I mean, what I would do is I'd type Q for quick mask and then I would make a selection like this. Get the top. I'm holding space bar to move it. I mentioned that when we talked about selections but I don't know if you remember that getting the right and the left or the right and the bottom. Mm Let's say that lines up, I could, although it is a little bit off there, then I could select inverse to get the opposite. Grab my paintbrush and paint with black and fix that. Then up here, I might need some white. So I'll change the color I'm painting with. Invert the selection again and get up there. And I think I might be missing a bit there. If I chose undo to get that back. When I'm in a selection tool, I can move this and I'll just move it till it looks like it aligns and then paint in there. Yeah, I'm gonna say that that's uh pretty close. And then I could do a similar technique for the inside. I could come in here and start to make a selection, get the space bar, get the top edge in the left edge to line up where they should let go of space bar, then get the right side in the bottom. And if you need to fine tune again your space bar to get the top in the left, let's say about there. And then I'm guessing I could get this little clip part with the, um, object selection tool. What I'll do is hold down the option key, which means take away and I'll say take away this part right here. Hm. I'm surprised I'll choose undue. Uh, sometimes you need to go to a more basic tool. Uh I might try the, I might try the quick selection tool. I hold down an option to take away and paint across here because it should, oh, and it couldn't do it either. I'm actually very surprised my guess is it's looking at the quick mask instead of the image. Um, because the quick mask would be active at the moment. Uh, but the other thing I could do is just manually paint with black and just avoid that part at the bottom. And then when I get down there, it's not exact though. But anyway, it gives you some idea of how you could modify a selection that was almost good enough to make it uh acceptable. I'm gonna type Q to turn off quick mask mode and let's copy that to its own layer. Uh And so what I'll is I'll end up duplicating the layer and then I'll add a layer mask so that now we should have that isolated where if I hide the layer underneath, there's what we have on our layer, we need the subject of the photograph on its own layer. Then if we want to get this so we can put it on top of anything else. We need this whole background all the way out to the edges of the document to be solid white, all the way around the edge right up until where that shadow would start. So I'm gonna choose image adjustments levels. There's a little trick in here before I mentioned the eye dropper for one image. But another trick is when you're pulling in this which forces areas to white, what you can do is hold down the option key, alton windows and you'll get a preview. It's known as a clipping preview of what's turning white. If you click anything that doesn't look white isn't white, it's some shade of gray. So I'm gonna pull this in and I see the areas turning white up there near the top and I'm gonna continue pulling this in until I see that white go all the way around the shadow. So that right about there in any place where it is not um doesn't have full white like in the lower right corner. You see some specs I could either keep going or more than likely that could be some dirt there. And I'm simply gonna paint over that area in the lower, right with a brush afterwards, just a white brush. So I'm just gonna remember where it is and then I will click, OK, grab my brush tool and then I remembered there was some residue down here. So I'm gonna paint there. I think there was a couple of specs down that way. So now it should be white all the way around that shadow. And therefore, if we were to use multiply mode, white disappears in multiply mode. And therefore whatever image I put this on top of uh this area would disappear. And then any area that's darker than white would darken the image. And therefore, I'd see this shadow here, I'd see the shadows there, all that kind of stuff. Uh Then I could slide something behind it. I didn't have anything planned to put behind it though. So let's just grab any old image. And I bet you this is small compared to that image, but I'd need to grab both layers because the shadow is in one layer and the magnifying glass is in the other. I'm gonna drag it over to that other image, drop it over here and then to get the shadow to be see through, I click on that layer and I set it to multiply. And now if I again grab both layers, I can move this around anywhere in this image and you can see the shadow that is being cast by the magnifying glass and you can see the shadow within the glass itself. Uh So we could uh do something like that. So that's some advanced masking in order to get a shadow to be transparent, that only works. If you have a simple, simple background, gotta be either a solid color or close to it and it shouldn't have much texture if it has any texture, like the weave of fabric or something. Uh Once you're done with this technique, you would have to work on the layer that contains the shadow and just blur it until the texture goes away. All right. Now, for the ultimate, how could we remove the background on blonde hair that's partially see-through and on a champagne glass that you can see through? Well, I have to tell you this is the end result. Let me show you the original, which is at the bottom here is the original. Now being on a black background makes this the most difficult. Uh And so let's figure out how it's done. You already know a good portion of how it's done. You start off over here with your object selection tool and you hover over what you want and click on it that gives you your starting selection. Then I'm gonna put this layer that has a color in it underneath just so I have a backdrop that will eventually appear in there and let's head into selected mask. Now look at the selection and know that her wine glass or champagne glass is not selected. So we'll do that separately. All right, here we are and we can go over here and preview this. I think, wait, I have the wrong layer active because if you look at the preview up here, it looks purple. Let me click. Cancel. Yes, I need the original image layer active and then come up here to select and mask because that should have looked like her. All right, then this is already set on layers because that's what it's set to the last time I used it. Uh But oftentimes I start off with overlay so I can see the original background and I can get a sense for what's happening with the hair. And a few of the things that I noticed is that I see some clumping right here. Do you see this red blob doesn't look like it belongs and a few others. Uh Also I see part of the background showing through right here. Uh I see some of the background showing up right there. Remember the background's black uh background in here and so on. So we really need to give this uh give Photoshop Control by using that second tool down. And what we want to do is cover up where what I'm gonna do is paint all the way around her and I'm gonna stop when I'm coming in towards her face, wherever I stop seeing any hint of the background whatsoever. So I'll start right about here. I'll click and then I think I see hints of black right up through about there. I don't think I see any beyond there right there. I see a little bit it seems to go into about here and then up around here, any hints of the background, I'm stopping right where there's no longer any hints of the background. So about here and then right there, I can always let go and get a smaller brush and right in there. All right. So I've painted all the way around and I don't know if I got that one spot right there, but now I want to see where I painted. So I'm gonna turn on the show edge check box and that's where I can see where I painted. And now I wanna get any hairs that extend beyond where I painted. So I'm gonna click here and any little hairs, whatever it is, I want to get it because anything that is out here in the red zone, it Photoshop thinks it should be deleted. So if it thinks blonde should be deleted here, but it thinks it should be kept here, it's not gonna do a good job of figuring it out. So if I get it, so all of the hair is within that zone of Photoshop's control, then it can deal with all that hair. I can always uh later on decide to give her a haircut, but I shouldn't be doing that now. So I think I got most of the hairs that were out there. And if I look on the inside, I'm looking for any hint of the background showing through. I don't think I have any hint of the background showing through. So that should be pretty good. That's my goal. Now, I'm gonna turn the show Edge Checkbox off and now this is starting to look not too bad. So now let's either view it on a critical background um or let's just view it on the background. We're gonna put it on. No need to go into an overly critical one because if you're not gonna notice it when you are done with the background, it's actually gonna be on then who cares? Now, the hair looks pretty terrible at the very top and the left, but that's only color that's uh the issue there. I think the actual hair, the masking of it isn't bad. So uh what I'm gonna do is turn on down here, the decontaminate colors check box when I do watch what happens at the top and the left of the hair, now it just shifted the color of all of that. It just grabbed the color that's in here where it is not transparent and it shoved it out there into those areas that had a combination of hair and background where the two are mixed together. And now I think that looks pretty amazing. Uh I will usually find the, the lowest setting that does the job though because the colors become more generic as you bring this higher. And so I'm not just leaving it at 100 most of the time, but in this case, at least up in the eighties I think is needed. So I'm gonna call that good enough and I'm gonna click. OK. Now, these other layers that are in here are from when I did this before. And so I could either throw those away or what I'm gonna do is throw them in a folder just to keep them there. And I'll just say uh old attempt and if we want to, we can look in there to compare because I might have done more work or something like that. So, um now blondes, the problem is gonna be if you ever try to put a blonde, especially one that was shot on a black background and you try to put it on a background that is brighter than her hair, then it's not gonna look as good. So if I double click on this background here, which is a solid color layer and I make it brighter and brighter brighter at some point, uh It's going to stop looking good. You see up here, it doesn't quite look right. That's where I might have needed to bring that decontaminate slider uh higher than I did and, or I could do a similar adjustment to what we did on the brunette hair. What I would do in this case is I would come in here and I would choose levels as an adjustment layer and just like before I would clip it to the hair. But last time I ended up taking this right here and pulling it in and that ended up darkening the hair. Well, I don't want to darken that hair instead. What I'm gonna do is bring this slider in and that's gonna lighten up the hair. Now I'm gonna ignore the rest of the picture and I'm gonna just look at the hair. And the reason I'm pulling this in is this will think about the darkest shade and that's what it's gonna concentrate on. And therefore it shouldn't brighten up the really bright blonde shades as much as it brightens up this darker shades. So I bring that up. We ignore her face and look just at the hair and see if I can find a setting that might help. And if I can, then I take this mask that's here and I invert it to make it black. That means you can type command, I control Im Windows, then you can grab a brush with a soft edge and paint with white and you can try to put that in where those hairs look too dark. You can also do an adjustment in there that would in addition to that shift this towards yellowish because uh they might look too gray in there. But any part here that is looking a little dark, um, that could help, you might even need to do it twice, uh where you have an additional layer of that, that you paint in on just the most extreme areas. But let's see what that's doing before, after see how it's brightened it up. But putting a blonde on a background that is uh starting from black that is in putting on a um a background of that sort is going to be uh not a, a pleasant thing. And now what we're missing is of course her champagne. So let's try to deal with that glass. Uh So we can hide the layers we've done so far and put on the original and just deal with the champagne. I'm going to go back to our object selection tool. I'm gonna click right on the champagne and now with that selected, let's head in to select and mask because it can work with things that are transparent. What we wanna do is think about where is the background? The background was black in this original. And we want to use that second tool to paint anywhere where the background is mixed in with the subject, anywhere the two are mixed. So right here where it's blatant background, there's a tiny chunk there. I'm gonna paint across here, I'm gonna go up through here, but I'm not gonna paint on that area towards the right because I don't see background mixed in there. I only see champagne. Now it's not gonna look good until I get across all of the black because wherever I haven't painted yet, it's largely thinking it, that I want to keep black. It's only when I paint over all of that, that it goes. Oh, you want my control all the way out there. And also up here, I'm gonna do the same thing right across there. I'm just gonna try not to paint over all the highlights because I need some things not painted on because those areas that I have not painted on tells it what to keep. And so I want to keep things that look like champagne and I wanted to keep things that look like. Um, what do you call it? Um, the glass. But if there's any hint of that background in there, then I need to paint on it and there might be the tiniest hint right about there and I don't know why it hasn't gotten that. All right. So that's not too bad. I think we got some champagne. Uh, and we got some whiteness. We got the highlights in the glass and now we could come over here and see what decontaminate colors does. What it's likely gonna do is take the brightness of this, the color of this and push it out here into those areas where you see the background still like, uh, clinging onto things. And so let's turn on decontaminate colors. Yeah. And we might bring it down a bit to see if we like it better at a lower or a higher setting. And I'm thinking just a little lower than that. Probably right around there. It's looking pretty good. So let's click. Ok. And now we have part of the glass. It's not to my satisfaction yet, but it is not terrible. So, uh let's see what it looks like with her in there. Just so we got an idea and think about what are we missing. But we have the original image down here. If I option click on the eyeball, we'll see the original version. There was just a hint of the champagne in there that we're missing like right over in here and I wouldn't mind getting some of that in there. And also there's some shading of black that defines this rim that isn't quite um in there either. So let's try to get the champagne to show up more uh to do. So I'm actually gonna return to that original picture. And what I'm gonna do is uh we'll duplicate it to just get the uh champagne part. And I don't think I'm gonna use selected mass this time. I'm gonna instead go to the select menu and I'm gonna choose color range, color range will select a range of colors and I just need to feed it. Uh, the range that I need, I'll bring fuzziness way down and I'm going to, well, first off, this would usually be none. So in other words, you wouldn't see any red on your picture. Um, anyway, I'll bring fuzziness down. I grab this eyedropper and I'm gonna click on the purest area of champagne I can like maybe there and that's what it's thinking of is what it should select. Then I'll grab the eyedropper with the plus sign on it. And I'm gonna try to find other areas that look like champagne that does not have any black mixed in. So that means this varies a bit and I'll just click on a few other areas in here to try to get it. Uh And I think what I'll do is come in here and I'm gonna go for this area right here. There might be the littlest hint of black in there, but I think it's largely pure champagne. So I'm gonna click right there. So now I think we're gonna be getting an OK range. Uh If you want to see the range we're getting down here, we have selection preview. I'm gonna change that to uh let's send it, change it to white mask that's gonna put white on top of the areas that we're gonna end up with. So you see the white sitting on top of the champagne. There's a choice over here on the right called Invert and that changes where the color shows up. So it's in the exact opposite area and if I do that, we should see what are we keeping. So this is what we're keeping. We got a little hint of champagne. Ignore her. I don't care about that. I'm just looking at the glass and now what I need to do is bring fuzziness up. If you bring it all the way up, you're gonna see too much of the image. What I want to find is the highest setting that doesn't let the background show through. So as I bring this down, you see more and more of the background disappearing and I want to see, when do I think that there's really either no background or so little that I wouldn't care if that little amount contaminated or uh new background. I'm thinking somewhere and about there where I don't mind if the purple background gets a little darkened in there because there'd be shadows and uh we'll see what that looks like. It's hard to preview here because of the white, but I'll click. OK. Uh Now we have the invert check box turned on that might have inverted my selection. I'm not sure. Um Now it looks like it's good. It was just the preview being inverted. Let's add a layer mask. And the other thing that I'm gonna do is I'm gonna going to get the um champagne glass selected again, just click on it. I'll select inverse to get the opposite. And in that mask, let's fill that area with black meaning hide everything except for where the actual uh glass is. I'll just do that with a keyboard shortcut. All right, let's hide the original picture. Let's put our purple background underneath. This was our original. No, that's not our original. This was our original extraction uh when we attempted to do the glass and now I can turn this on and see if we get any champagne showing up little bit. I'm still not really happy with it though. So here's what I'd usually do. I would simply grab the eyedropper tool and I would click on the area that looks like it's the most like champagne like right there. Although make sure I'm working on the image, not the mask right there. And then I'm just gonna create a layer that I put underneath and I'll do it the cheap way, which is just paint with my brush. I'm gonna simply paint in some champagne. I'll just go hm If I turn on the original, I can see where the glass would go. Ok, it's gonna end out there. Uh Then I would just lower the opacity so you can see some purple showing through maybe somewhere like that. Let's see what it looks like when we put her in. Uh then what we're missing is shadows. And so I could attempt to select the black areas that were in there and putting them in at a lower uh opacity. But anyway, I'm getting overly complicated here. I don't know if you're gonna need to deal with uh glass. Uh Let me look at my first attempt that I did on this. So, what I'm gonna do is take our current attempt. I'm gonna select all the layers except for the original picture and I'm gonna throw them in a folder and I'm just gonna call that um video attempt and turn it off. Now, let's look at an old attempt I did when I was experimenting with this image. Uh First I have uh Cassandra with her hair and then here I have my glass and yeah, that looks like I probably did a little better. Let's just see what the uh layers are made out of. Uh in here. I'll turn them off till we get down here to the bottom. Here is what I painted with when I painted in the color of the champagne. Uh May o passing down to 64. Uh Then in here we have here is the main glass um that I had. Then here is when I selected both white things and peach colored things to try to get the champagne to show up. And then here is me bringing just these fingers in because they didn't look right. And then here I think I named this something. I, I don't remember. I don't remember why I had this. It said brightest highlights. I'll turn that on and it brought in a few more um highlights to it. But that's the, the version I did, the general ideas were uh either identical or very similar. And um comparing that to the original, considering we started on black and black makes things much more difficult than most colors because objects have shadows, those shadows will be blackish. And so it makes it difficult to separate and then on her hair instead of using levels to do it, I chose the brightest shade in her hair, um, in a good portion of her hair and I just painted with it and clipped that. See how that fixed it. There. All right. There you go. Advanced masking what we do. We removed the background on a complex building to put a new sky in. We removed the background on lots of furry, fuzzy and hairy things. We removed the background on a glass of champagne with champagne in it. And so I would call that rather advanced masking.