From the course: Photoshop Masking and Compositing: Fundamentals
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Separating flesh tones from hair - Photoshop Tutorial
From the course: Photoshop Masking and Compositing: Fundamentals
Separating flesh tones from hair
In this exercise, I'll show you how to use our hair mask in order to separate the hair from the flesh tones, so we can regain the details along the model's jaw, neck, and shoulders. Now, I am going to switch over to the RGB composite at the top of the Channels panel. Switch back to the Layers panel, Shift+ click on the layer mask for the M2 R10 layer in order to turn it back on, so we are now seeing the two model layers working together inside of our composition thus far. The M1 R40 layer; that's the one that contains the good details where the model's jaw, neck, and shoulders are concerned. If you want to see what I mean, I'll go ahead and switch the Blend mode from this layer from Multiply back to Normal, and you can see that that brings in that good information along the shoulders, along the neck, and along the jaw on both sides of the model. So what I propose we do is we take this layer, we make a duplicate of it, and then we mask her hair away, because after all, where this layer…
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Contents
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Choosing the ideal base channel5m 7s
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Converting a channel into a mask6m 34s
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Painting with the Overlay mode7m 27s
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Painting with the Soft Light mode5m 55s
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Mask, composite, refine, and blend4m 40s
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Creating a more aggressive mask7m 2s
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Blending differently masked layers7m
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Creating a hair-only mask6m
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Using history to regain a lost mask3m 42s
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Separating flesh tones from hair8m 28s
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Adjusting a model's color temperature4m 30s
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Introducing the Calculations command7m 22s
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Extracting a mask from a Smart Object6m 34s
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Integrating a bird into a new sky5m 40s
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Creating synthetic rays of light6m 4s
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Masking and compositing light7m 39s
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Introducing a brilliant light source7m 5s
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Using the image to select itself1m 37s
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