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Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.
Download Deke's free dekeKeys and color settings from the Exercise Files tab.
It is now time to move the Manlysaw into the Ad composition. So make sure that you have Saw with mask .tif open, as well as Ad composite.psd. And I'm going to perform a drag and drop like so. I'm going to press and hold the Ctrl key or the Command key on the Mac and I'm going to drag the selected Saw up to the title tab, wait for the image to switch, then drag back down into the composition like so. Add the Shift key, so that both Ctrl and Shift are down or Command and Shift on the Mac and release in order to exactly register the hand and Saw into place.
So that it's appearing at the desired position. Now things look pretty darn good. I would say it looks fairly at home here, but we do have some edge artifacts. If you zoom-in to your image, you are going to see these edge artifacts tracing around the image. This is pretty common when you're using the selection tools. Basically, what happens is two things. first of all a foreground always has some memory of what its former background is. So it's bound to have some colors from the background that are reflecting or wrapping around the edges.
Also this kind of fringing here is a function of the digital camera's auto sharpening and what happens with auto sharpening is right at the edge, there appears a highlight on the light edge and a dark halo on the dark edge. And we've selected everything, but that bright highlight is essentially what's going on. Well, we can improve this edge if we want to, but we're going to have to take another swing at bringing the Saw into the composition. And so I'm going to press Ctrl+Z or Command+Z on the Mac and what we're about to see is an application of the layer mask.
This is some relatively advanced stuff, but I don't want you to be put off by it because it really is a best practice. It's something you should get in the habit of doing, because it provides you with a lot more flexibility. So let's go back to Saw with mask.tif. And what I'm going to do here is switch over to the Layers panel, I still have my selection outline intact as you can see and double-click on that Background layer. And what's going to happen is you will see a New Layer dialog box, we saw this when we were performing a nondestructive crop a few chapters back.
I'm going to go ahead and name this image saw & sky like so and click OK. And now that I have an independent layer, I can convert the selection to a layer mask by dropping down to this icon at the bottom of the Layers panel and clicking on it. So click on the Add layer mask icon and you now have an image and a layer mask and notice that they are linked together. So we have a chain between the two which means that they are going to move together as well. So we just got rid of the sky, we just masked it away.
Go ahead and press and hold the Ctrl key or the Command key on the Mac once again to get the Move tool. Drag that Saw up to the Ad composite.psd title tab if you're working in a tabbed window interface and then drag your cursor back into the Image window, press and hold the Shift key along with Ctrl or Command and release that mouse button and you will move both the image and the mask into place. Now we have the full image surrounding the saw and the hand and the blade and so forth. We can scoot the mask inward in order to get rid of that fringing.
I'm going to show you two ways to contract that mask in the next exercise.
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