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Photoshop CS6 One-on-One: Advanced

Combining Quick Selection with Refine Mask


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Combining Quick Selection with Refine Mask

In this movie, we are going to takes this guy's sunglasses, along with his shirt, and his jacket, all of which have a red hue associated with them, and we are going to turn them blue, so that they better match the scene. And we are going to do so using a combination of the Quick Selection tool, along with Refine Edge. And the reason I'm pairing these two features is because they were introduced into Photoshop at the same time, and as a result, they work together quite nicely. So we'll start off inside this image here, zoom in on it, and I will go ahead and select the Quick Selection tool. In my case, I have to click and hold on the Magic Wand tool, and then select the Quick Selection tool from the flyout menu. And you want to make sure that the Auto Enhance checkbox is turned on, so that you get the possible results out of the tool.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Combining Quick Selection with Refine Mask

In this movie, we are going to takes this guy's sunglasses, along with his shirt, and his jacket, all of which have a red hue associated with them, and we are going to turn them blue, so that they better match the scene. And we are going to do so using a combination of the Quick Selection tool, along with Refine Edge. And the reason I'm pairing these two features is because they were introduced into Photoshop at the same time, and as a result, they work together quite nicely. So we'll start off inside this image here, zoom in on it, and I will go ahead and select the Quick Selection tool. In my case, I have to click and hold on the Magic Wand tool, and then select the Quick Selection tool from the flyout menu. And you want to make sure that the Auto Enhance checkbox is turned on, so that you get the possible results out of the tool.

All right, I am going to increase the size of my brush to about 15 pixels, and then I will go ahead and paint inside of the sunglasses, like so. Now, you will have to be patient, because this is going to require multiple passes of this tool. So notice I am just painting a little bit at a time, because if you go too far, you will probably go way too far very quickly. All right, so now I'll paint down into the bottom portion of glasses, I'll paint around into the front as well, and that looks pretty good; looks like I have to get some more at the very front of the glasses, and at this point, I am just clicking with this tool.

All right, now I will reduce the size of the my cursor, and paint into the sidebar, and I have gotten too much detail, so I will press the Alt key, or the Option key on the Mac, and drag in the flesh tones in order to deselect them, and this I guess looks pretty good where the sunglasses are concerned. We will be able to gauge the results better in just a moment after we apply a Hue/Saturation adjustment layer. All right, here is where things really get tricky. I will increase the size of my cursor, and then paint inside the shirt, and the jacket over here on the left-hand side of the guy, and I'm going to paint up way too far, as you can see.

All right, so that ends up selecting into his neck; I will come back to that in a moment. I missed a detail down here. So I will click, and I will Alt+Click over on the other side in order to get rid of that, Alt+Click up here in order to get rid of that bit of blue that I selected, and now I will try Alt+Dragging down along his neck, but that ends up deselecting a lot of the collar. So I guess I will go ahead and zoom in. That's the thing about the Quick Selection tool; it's not easy to predict its outcome. And I will go and drag in that upper region of the collar with a very small brush, as you see me doing here, and I may just click of few times in order to see what I can get. And that looks like a pretty ratty edge, so I will go ahead and drag inside of the collar just a little more right there.

All right; so far, so good, I guess. Again, it's hard to tell from just seeing marching ants. I will go ahead and drag over here in the far upper left corner of the shoulder. Now let's go ahead and grab the other shoulder, as well as the other collar, by dragging inside of it with a larger brush, then I will reduce the size of my cursor to something very dinky -- about seven pixels -- and drag up into this region of the collar, and see what I get. I selected a little bit too much, so I will Alt+Drag or Option+Drag, like so, in order to deselect that region, and I need to drag inside of that portion of the collar -- your results will probably vary -- in order to achieve this result here.

You know, just right there, I might be able to Alt+Drag with a very tiny brush inside of this detail here, so I don't accidentally color the flesh tones inside of his buttonhole. All right, that looks like it's a good place to start, I guess. With this selection active, I'm going to drop down to the black/white icon at the bottom of the Layers panel, Alt+Click or Option+ Click on that icon, and choose Hue/Saturation in order to bring up the Hue/Saturation dialog box. If you loaded dekeKeys, you can also press Control+Shift+U, or Command+Shift+U on the Mac.

I am just going to call this layer blue, and click OK, and you know what? I need to figure out what color I want to use here. So I will press the I key in order to get my Eyedropper. But because the layer mask is active, I will only be able to select shades of black and white, so I am going to click on this sky layer to make it active, and then click in some region of the sky, like so, in order to lift that color as a foreground color. In my case, it's got a Hue of 209 degrees, and so forth. All right, let's switch back to the Hue/Saturation layer, turn on the Colorize checkbox, and had I done that in advance of creating the layer, Photoshop would have gone ahead and automatically grabbed that Hue value, but I didn't, so I will go ahead and dial it in manually.

It was 209, but I am just going to round it off to 210, and then I will take the Saturation value up to 50%, like so, more so I can see what I am doing than that I necessarily like this affect. All right, then I will hide the Properties panel. Now we need to adjust the mask, and I will start off here by pressing the B key to get my Brush tool, and I will right-click inside the image window, and I am going to change that Hardness value back to 75%, and then I will reduce the size of my cursor. I want to make sure black is my foreground color, so I had to press the X key to make that happen. And with my layer mask active for this Hue/Saturation layer, go ahead and click right about there in order to paint that area away, so that we are not leaking too much blue into his hair. And then actually I want to zoom back in.

Press the L key to switch the Lasso tool, and Alt+Click around this area. This would be Option+Clicking on the Mac in order to select that bridge of the nose, and press Alt+Backspace or Option+Delete to fill it with black, so that we have a nice corner, and we are not painting the flesh blue, which is really not something I want to do. All right, this is looking to be in pretty good shape. It looks like I need to grab a little bit of additional detail right there, and I am just dragging around it, and I will press Control+ Backspace, or Command+Delete on the Mac, to fill that region with white, because I want to mask it in. All right, let's Alt+Click or Option+Click on a layer mask thumbnail, so we can see the mask independently, and you can see that it's okay, but it's a little bit ratty in places.

Actually, my sunglasses are in pretty good shape. It's mostly this collar region that's a little bit shabby. So what I am going to do is Alt+Click or Option+ Click again, so I can see the layer mask and the image at the same time, and I will go up to the Select menu, and choose Refine Mask to bring up the Refine Mask dialog box. And you can fool around with these settings as much as you like. I am actually going to switch my view back to Black & White, so I can see the layer mask on its own. And you may ask, well, then why weren't you just looking at the layer mask like you were a second ago? Why did you bring the image back into view? And the reason is, you get more accurate feedback this way.

So I am going to take that Smooth value up, let's say, to 10 in order to smooth out those details quite a bit. And then I will take the Radius value, I found, up to 3 ended up doing pretty good, although that ends up backing off my edge a little bit, so I am going to take the Smooth value down to 5, and let's see what we end up getting. I am going to switch back to On Layers from that View menu, and that actually looks pretty good. What I might want to do is shift the edge out, so I will press Shift+up arrow a few times to take that Shift Edge value up to +50, so that I am getting all of the jacket -- that looks good -- and I am getting all of the glasses, and I am not spreading the glasses out too far.

I like that. All right, so these are my values: 3 for Radius, 5 for Smooth, and Shift Edge +50. Click OK, and I might want to go ahead and switch back to my Brush tool, and I will make sure that my foreground color is black, which it is, and I am going to click right there in order to get rid of some of that extra blue that was on his face. Click, and Shift+Click along that temple, reduce the size of my brush cursor, click and drag right down there, and then click and Shift+Click along the bottom edge of the temple. I just want to make sure I am not making any of his flesh blue, so I will bring my cursor around here.

I am just clicking and dragging in a few places. Oh! I ruined that corner at the bridge of the nose, so I will press the L key in order to get my Lasso tool, Alt+Click around this area, that's an Option+Click on the Mac, to draw a polygonal selection outline. Fill that with black by pressing Alt+Backspace, or Option+Delete on the Mac. It looks like I got a little bit of junk up here too; click and Shift+Click along the top of the glasses. Maybe drag along the top of them as well. Better not to paint too much of his flesh blue I think. All right, assuming that I am happy with what I see, I will go and zoom out by pressing Control+0, or Command+0 on the Mac. And then I figured, you know what? I want to keep the natural saturation variations inherent in the image, so I will press the M key to switch my Rectangular Marquee tool, and then I will change the blend mode from Normal to Hue.

You can also get the Hue mode by pressing Shift+Alt+U, or Shift+Option+U on the Mac, and that makes a tiny modification. If I press Control+Z, or Command+Z on the Mac, this is the way the shirt and jacket looked before, and then if I press Control or Command+Z again, you can see that we have more natural saturation variations. And now I am going to press the 7 key in order to reduce the Opacity to 70%, and that ends up making things look a little bit too violent, so I am going to double-click on the adjustment layer thumbnail right there in order to bring up the Properties panel, and I will click inside the Hue value, and press Shift+down arrow twice in order to reduce that Hue value 290 degrees, which, when mixed with the natural redness of the image, ends up producing a better effect.

All right, now I will hide the Properties panel, and it looks like this area needs a little bit of adjustment, so you know what? I am going to cheat. I am going to grab my Lasso tool, which, of course, I can get by pressing the L key. I am going to select this region of the image, and I am going to switch to the layer mask, so I will click in the layer mask thumbnail to make it active, and then I am going to press Control+Alt+right arrow or Command+Option+right arrow, and that just goes ahead and scoots that area of the mask over one pixel, so you can see that made a pretty big difference. I might press a right arrow key again in order to shift things over just that much more.

Then I will press Control+D, or Command+D on the Mac, to deselect the image. I will grab my Brush tool, which I can get by pressing the B key. Let's see. I am painting with black; that's what I want, so I will just paint up this area right there. And then I will press the X key, because I have a little bit of a hitch that I created by nudging that portion of the mask, so I will press the X key to make the foreground color white. Now click right there, and Shift+Click right there in order to add in a little bit of a collar, and have a straight edge. And then, if I am feeing really persnickety, press the L key to switch back to Lasso tool, Alt+Click or Option+Click around this little corner right there, and then press Control+Backspace, or Command+Delete on the Mac, because my background colors is now black, to fill that region with black. Then press Control+D, or Command+D on the Mac, in order to deselect the image.

All right, so I will zoom out by pressing Control+0, or Command+0 on the Mac. This is what the image looked like before, with the red collar, and the red glasses, and the reddish jacket, and this is what it looks like now, thanks to the addition of this Hue/Saturation adjustment layer that I was able to mask, very carefully, of course, using a combination of the Quick Selection tool, along with the Refine Mask command.

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