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Selecting glass and water

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Selecting glass and water

Okay gang, are you ready to begin masking inside Photoshop? This is an alarmingly fun topic I must warn you, at least I think it's fun, this is my "Oh my gosh, am I going to have fun" voice. I hope you have got your own "My gosh, I am going to have fun" voice on too. Here's the idea. We are going to be starting things off with a little bit of a selection masking hybrid function inside the Photoshop that's known as the Color Range command and I will introduce you to that command in the very next chapter but first I have to set the stage here and I would like you to work with me in that endeavor.

Selecting glass and water

Okay gang, are you ready to begin masking inside Photoshop? This is an alarmingly fun topic I must warn you, at least I think it's fun, this is my "Oh my gosh, am I going to have fun" voice. I hope you have got your own "My gosh, I am going to have fun" voice on too. Here's the idea. We are going to be starting things off with a little bit of a selection masking hybrid function inside the Photoshop that's known as the Color Range command and I will introduce you to that command in the very next chapter but first I have to set the stage here and I would like you to work with me in that endeavor.

I want you to open up Splash In Glass.jpeg. It's available to you inside the 10 Masking folder. And this image comes to us from photographer Chris O'Driscoll and we are going to be selecting this glass and this water, believe it or not, with all of its translucency intact and we are going to be moving it into this background right here, this StartPattern.jpeg background, also available to you inside of the 10 Masking folder. This beautiful image comes to us from Harold Fila. and I want to show you what the final composition is going to look like.

I am going to Shift+Tab away my palettes, here it is right there this gorgeous image. I am going to go ahead and press the F key in order to enter the Maximize mode. Notice that we can not only see the star field in the background, is that not awesome, but we can also- I am going to go ahead and zoom in on it. We can see this big star inside of the glass here and if you move up you can see a bunch of little stars inside of the water. Is that not radically cool? And that is a function of masking inside Photoshop as it turns out that's how powerful masking is.

Now I am going to zoom back out here because I want you to notice something. Even though it may look like we have a little bit of distortion going on inside of the water and inside of the glass because we have got this big old star inside the glass here, there is no distortion going on, this is simple masking; we are just keeping the highlights and the shadows and that's about it. Anything else that you are seeing is your mind making it up. But that's okay, I will accept that. It's okay if your viewer goes ahead and imagines that there is more to your image than is actually there.

Alright I am going to press Shift+F in order to return to the multi image window mode here and I am going to click on Star Pattern and SplashInGlass. Those are the images that we will be working with. I am going to Shift+Tab back my palettes here so that we can see those palettes on right hand of the screen. Now you might think if you didn't know better that the best way to approach this image would be maybe the Magic Wand tool and just so you can get a sense of what a rotten choice that is for this particular image let's go ahead and try it out.

I am going to go over to the Quick Selection tool slot and select the Magic Wand tool and I still have my tolerance set to 12 from way back in Chapter 8. So I am going to operate on a theory here that it's easier to select the background than the foreground where this image is concerned. So I am going to go ahead and click in the background and I select quite a bit of it and then maybe I will Shift Click inside the glass and maybe Shift Click inside this area as well because I am trying to Shift Click away things that look sort of like background colors.

And oh I will Shift Click inside the water too what the heck and maybe Shift Click here gosh I don't know. I really don't know what I am doing at this point because I mean really what are you going to do with the Magic Wand tool, what is it you are trying to accomplish? How are you going to approach such an enormously complicated image and keep its transparency intact? Anyway, I am doing my best here. I think I will now go up to the Select menu and I will chose the similar command in order to grow that selection to include non-adjacent pixels and that gets me it looks like I have gotten the majority of the backgrounds selected.

Now I will go ahead and switch to the foreground image by choosing the Inverse command from the Select menu. I will now go ahead and get my Move tool here so that I can move the selection into a different background, I will make sure that my Move tool cursor is inside the selected area and I can tell when I see that little scissors icon in the bottom right corner of the cursor. And then I will go ahead and drag the glass like cell into the other image, press the Shift key and drop it into place.

So I register the glass into its new background because the two images are pixel for pixel the same image size and that looks terrible as it turns out I would go so far as to say. Not only do we have some just horribly jagged transitions as if the glass is horribly broken but also we have done a pretty bad job of selecting the colors that we need to keep and I have got some weird little black things going on as if some sort of tobacco ash or something along those lines is flying out of the glass here.

This is no good. I would go so far is to say the Magic Wand was a bomb. So I am going to go ahead and Undo the addition of that glass into that star background. Here's the deal. There is a much better way to work that gives you much better results and turns out to be easier as well and we are going to investigate that much better easier method in the very next exercise.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39091 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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