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Learning how to use Adobe Photoshop efficiently and effectively is the best way to get the most out of your pixels and create stunning imagery. Master the fundamentals of this program with Julieanne Kost, and discover how to achieve the results you want with Photoshop and its companion programs, Bridge and Camera Raw. This comprehensive course covers nondestructive editing techniques using layers, masking, adjustment layers, blend modes, and Smart Objects. Find out how to perform common editing tasks, including lens correction, cropping and straightening, color and tonal adjustments, noise reduction, shadow and highlight detail recovery, sharpening, and retouching. Julieanne also shows how to achieve more creative effects with filters, layer effects, illustrative type, and the Photomerge command for creating panoramas and composites.
Another excellent way to make selections is with the Quick Select tool, especially in a case like this, where we're looking at a rather organic shape where the Elliptical or the Rectangular Marquee tools wont really work very well. Now, we could use a Lasso tool but the Quick Select is going to be even easier because the Quick Select tool is actually smart. So we can either tap the W key on the keyboard or we can select the Quick Select tool. You'll notice that just like the Marquee and the Lasso, we have different options for it in the Options bar. To begin with, we'll just click on the first icon.
That's going to allow us to click and drag in the boot area. And you can see, as I'm dragging down the boot the Quick Select tool is trying to guess really based on the colors that I'm clicking on, what the best selection would be. So when I release my cursor, this is the initial selection that I get. But if I continue using the Quick Select tool, and you can see that in the center of the Quick Select tool there's automatically a plus. In fact if we look up here in the Options bar, once I let go, Photoshop knew that I probably would want to add to my selection, so it automatically selected this second option.
So, every time that you click and drag with this tool, with those cross hairs, Photoshop's actually creating a color lookup table. So, every color that you pass that cross hair over, Photoshop goes, oh, you must want this color to be part of your selection. Now it selected a little bit too much in this case so what I'd want to do is actually hold down the Option key on the Mac or the Alt key on Windows. You can see that, that plus changes to a minus and you can see up here in the Options bar that the Option key is going to change to the minus option.
So now I'm going to click and drag through this area in order to remove it from the selection. And I'll click and drag here. And I'll click and drag right down here but Photoshop may or may not be able to make a great selection there. Let's go ahead and zoom in, I'll use Cmd+plus or Ctrl+plus on Windows, hold down the space bar and just scoot up my image. And it seems to be doing a fairly decent job. Oh, now I accidentally clicked with a plus icon. I wanted to subtract that area. So just like many of the tools in Photoshop, if I use Cmd+Z, I can undo what I've just done with that tool.
So this time I'll hold down the Option or the Alt key. We'll try to subtract this out. Now it's having a little bit of a hard time right down here in the bottom, because this tan color, it's not quite sure if it should select it or not. So instead of struggling with one tool, this is when I start to think, well, is there another tool that might be easier just to fix this little area? And for me that would be the Lasso tool, so I will tap the L key and that will switch me to the Lasso tool. Now in this case what I might want to do is tap the cap locks key on, so that I get this nice cross hair so I know exactly where I'm dragging.
And I want to add this area to my selection. So you don't have to start exactly in this little area right here, in fact let me zoom in, maybe even one more time. You don't have to start like right here where those marching ants are. Because I'm adding into my selection and all of this is already selected, if I click on the Add icon or hold down the Shift key, I can click anywhere in here and it doesn't affect anything, because this area's already selected. So a lot of times it's smoother to maybe, you know, start your stroke somewhere else and then come down and intersect and then add this area to your selection, right? And if you go out of this selection its not that big of a deal because then what you can do is just switch to the subtract from.
And again don't start like right there like, start wherever's comfortable, if it's comfortable to start out here. Because remember out here, now, is already unselected. So, doing this isn't going to do anything. So, you can start out here and then start your stroke. And then, just come and grab that and remove it from the selection. Right, again, I can hold down the Shift key. And, I'll start up here, and then we'll just add this area to the selection. And if I need to add anything else I can go ahead and do that. I'll hold down the space bar and just scoot around. Looks like I need to subtract this a little bit.
So, again I can start way out here, just go up a little bit to get that subtracted. Oop, and we've got a mistake over here, so again I can start anywhere out here, right? because this is already subtracted from this selection. And just come down, and sometimes it'll be more comfortable to drag in the other way. That just depends on your preference. So we can subtract that out as well. Alright, let's go ahead and zoom back out. I'm going to use Cmd+0 in order to zoom all the way to fit in window. So now that I have a good selection, I might want to still refine it just a little bit. And I can do that by using the Refine Edge tool. The Refine Edge tool works for both soft edged objects as well as hard edged objects.
And in another video we're going to use it on a soft edged object. But here, I'm going to actually skip over the top two sections. And I'm just going to use the adjust edge options because, this is a very, hard edged object, and the edge is really the same all the way around the boot. So, if I want to smooth the edge a little bit because it's looking a little rough down there where I made that selection with the Lasso tool, I can use the smooth option. And you can see how it's just making that, a little bit more smooth. Look at that, the difference between when it's at 100 versus when it's at zero.
So, I'm going to move that up quite a bit. And I might also want to add a little bit of a feather. I'm actually going to add a big feather for a minute to show you what it does, so there we can see now we've got this soft edge feather. Because when you add a feather, you then get to shift the edge based on that feather. So you can see as I shift the edge way in here, if I go to negative 100, it can play with that entire distance of the feather that I created, that soft edge. If I shift the edge the other way, you can see how it goes back out into that original background. So as I limit the feather amount I'm actually limiting the edge that I can shift in and sometimes it just really helps to be able to take your entire selection and just kind of pull it in a little bit or choke that selection. Otherwise sometimes you get a white halo around your object that you're trying to select.
So I think that this feather of one pixel is too big and I'm sure that if I zoomed in to 100% it would be. I need something down around like 0.2 in this case, so that when I do shift the edge, it's just barely moving the edge over, and I'm not going to go to negative 100, but something just like maybe minus 35 or 36. Alright, once I've refined my edge, we'll click OK. And then all I need to do is actually convert the selection into a mask. And I can do that by clicking on the mask icon down at the bottom of the layers panel.
So you might be wondering why I didn't use the feather slider on the properties panel, and I didn't use it because I wanted to not only add a little bit of a feather, but also be able to shift the edge as well as smooth the selection. So if I want to do all of those things, then I need to use Refine Edge. So as easy as that, I can remove the background from this boot. And then I could take this boot and transfer it, maybe use it in a different image, or it might be set the way it is if I wanted to say print this in a product catalog.
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