How to use the Masking Slider to limit image sharpening to only the edges in the image
The Masking slider in the Lightroom Detail panel allows you to control the areas of the image that are sharpened and those that are not.
Hold Alt (Option on the Mac) as you drag on the Masking slider. As you do you will see a black and white overlay on the image. The areas that are black are not sharpened, those that are white are sharpened. The farther you drag to the right the more the sharpening is limited to just the edges in the image where you want it to be applied to.
Drag on the slider to control just how much of the image you want to have sharpened. When you’re done, adjust the Amount to a value that makes sense for the image.
Here I show you how to create works of art using your images in Photoshop. Included is how to find and select texture images to use, how to blend these into the image and, how to add a lightening effect to highlight areas of the image to draw attention. Also, included is one method of adding a vignette to an image.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial I’m going to show you how you can make art from your photos using textures in Photoshop. Before we get started with this video tutorial let’s have a look and see what we’re aiming for. This is the image that we’re aiming for. And quite often when I’m doing these tutorials I’ll play around with a few images before I come up with something that I really want to share. But today it was just this one image, this one texture and the whole thing just blew my mind. So here it is in video form.
To start off with I’m going to show you where I got my textures because these textures are totally awesome and I love this guy’s work and I want to introduce it to you. So this is a Flickr photo stream and the guy is called Skeletal Mess. And he has a whole lot of textures that you can download. Now I downloaded this one. It’s very big but I just want to show you his set that he has on Flickr so you can see the sort of potential for what there is available. Now with this particular image I was having a look through his sets and just having a look to see what I might use. And this one really spoke to me and I’m going to show you why because we’ll go back to the image that I have and we’ll see why blue worked particularly well for this image. So let’s just wind back what I’ve done.
So I’m just going to the layers palette for this image and let’s go and create a brand new image. Okay, so here’s our duplicate image that we’re going to work with. That was what we were aiming for so now I’m going to take away the pieces that went to make up this image. Now you’ll see why I thought that that blue texture would work particularly well here because this image has no sky and if we can borrow the blue from this texture then that would give us an awesome result. We could have used this one too or this one and perhaps just rotated them. But this one really spoke to me so I downloaded that. So I’m just going to grab it now because whenever I download an image even though I can just drag and drop it into Photoshop I’ll also save it just in case I want to use it again later on.
So I’m just going to bring it in here. It’s a whole lot smaller than my image but because it’s a texture that doesn’t really matter. So now I’m going to grab the move tool and just size it to fit all the way across my image. And again because it’s a texture it doesn’t matter that it’s pulled a little bit out of square. So it’s been pulled a little bit wider than it was tall. The next thing I’ll do is just run down these blend modes and just see what it gives me because this is like totally the most exciting thing that you get to do. So I’ll just select Dissolve and then we’ll just run down these blend modes until we get what we’re looking at. And Multiply I think is probably the one I’m going to come back and use but let’s just see what there is in this list. And it was at the point at which I got to that Multiply blend mode that I thought I actually had something I really wanted to work with but you might find other things here that are speaking to you. There’s a whole lot of potential. I usually run down the list and then come back up and by then I’ve pretty much made my choice as to what is working for me. This one possibly but it’s not nearly as good as the Multiply one. So here’s the Multiply blend mode applied to this image.
Now having achieved that I thought in actual fact the middle of the image could be a bit lighter. So what I did was I added a brand new layer and from my tools palette which has gone walkabout here I just grabbed the elliptical marquee tool and just dragged out an oval on that image. I switched so that white and black would be my colors and I also added a feather to this. So I’ll choose Select and then Modify Feather. This is not a very sophisticated feather option but I’ll just add a 100 pixel feather radius to it. That just really softens this edge so now when I fill it by pressing Ctrl Backspace, Command Backspace on the Mac, it’s going to have this feathered soft edge. So now Command or Ctrl D to deselect the selection.
Now I have a big white splat right in the middle of image. That’s obviously not going to work but what I’d want to do then is to blend it in so again I’ll just select the first blend mode in the list and then just run down until I find something that works for me. And here’s Overlay blend mode. That’s lightening that image really well in the area where the lightening effect was. I’m thinking that’s probably the blend mode of choice. But let’s just go and check these others particularly in this lighter area with soft light, hard light, vivid light and pin light. You’re never really sure that they’re not going to give you something so I always run through those just in case one is better than the other. So we’re pretty much to the end and Overlay is going to be our choice. So I’m going back up to pick up Overlay. Now this is too white for me so I’m just going to drag down on the opacity of that layer just to make it a little less opaque. I’m also going to test around this area. I’m thinking that some of this lightness is coming through from this layer and it’s probably a bit more than I want.
So again I’m going to add a layer mask to this layer, go and grab a paintbrush and just paint with black with a very small opacity brush, you can see it’s only 26 percent opacity, just to knock out the bits where I think the lightening effect is too much. I really just want it on the front part of this boat. So once I’ve neatened that effect up now I’m thinking a vignette around the edge. Now there’s umpteen ways of adding vignettes. I’m just going to show you one of them. So a brand new layer, I’m going to go back to my marquee tool, this time the rectangular marquee, I’m just going to drag in around about probably an inch into the image and then I’m going to invert the selection, select Inverse so everything that was selected is now not selected.
So I’ve got this outside edge selected. Now I’m going to sample a color from the image by clicking the eyedropper. I’m thinking one of the colors around here is kind of pretty good. It’s sort of dark but not really, really dark. I’m thinking that color was pretty good. And now I’ll Alt Backspace, Option Delete on the Mac, to create that as my fill color. Now I can deselect my selection with Ctrl or Command D. Now this is not looking like a vignette but that’s fine because we’re going to again run down our blend modes and look for something that is going to give us a darkening effect at the edge. Things you would look for are going to be in this light field. Obviously Overlay is going to do it. Multiply will do it as wells. That will always darken everything up a little bit.
So they’re the ones to look out for but also look out for any surprises as you run down. You might see something that gives you an effect that makes you go oh, wow, that is just too amazing. So I’m headed towards probably Overlay. So now it’s still not the vignette effect that I want but I’m going to blur this. So with that layer selected I’m going to go Filter > Blur > Gaussian Blur. Gaussian Blur is an awesome blur for just blurring things to almost oblivion. So here it is at zero radius effectively and now we’re just going to wind it up to soften this edge and pretty much just blend it into the image. And at some point it just becomes a really, really nice soft vignette effect for our image. So I’m just going to click Ok.
So there we have the effect. It’s very, very simple. This is a throwaway image. It’s just the sky is gone. It’s Hong Kong. It’s smoggy. It’s an overcast day. The sky is just nonexistent and I really wouldn’t have given this image a second look except that I was looking for a challenge. Add a really nice texture from Skeleton Mess free online textures from Flickr, add a bit of a highlight in the middle and then add this vignette effect and we’ve got an image that is now a keeper.
I’m Helen Bradley. Thank you for joining me for this video tutorial. Look out for more of my tutorials on this YouTube channel. Please subscribe and also visit my website at projectwoman.com for more tips, tricks and tutorials on Illustrator, Photoshop, Lightroom, iPad and a whole lot more.
Many of the fixes we commonly apply to images come from darkroom processes. Contrast masking is one of those fixes and it can be used to fix an image which is under or over exposed.
Contrast masking is a relatively simple process and it can work wonders with your images. I like it because it generally doesn’t require you to make selections and there is a lot to like about fixes that don’t involve selections.
Here’s how to use Contrast Masking to fix an under exposed image:
Open your image and duplicate the background layer. Target this duplicate layer in the Layers palette.
Desaturate this layer by choosing Image > Adjustments > Desaturate. Right now the default convert to black and white is just fine.
Alter the blend mode of this layer to Overlay.
To invert this black and white layer choose Image > Adjustments > Invert – this gives a negative of the image.
Adjust the layer opacity to suit.
Convert the top layer to a Smart Object by choosing Filter > Convert for Smart Filters.
Now blur this layer by choosing Filter > Blur > Gaussian Blur. Adjust the Radius to adds some sharpening back to the image. Check the preview to get the best result for the image.
Learn three must know blend modes for Photoshop and in particular for editing photos in Photoshop. Covers how to use Screen, Multiply and Overlay blend modes.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial I’ll introduce you to the three must know blend modes in Photoshop. I’ll explain how they work and how you might put them to use.
There are three blend modes that it’s really handy to know how to use in Photoshop, and we’re going to look at those three blend modes in this video tutorial.
In this particular image I have a picture of a building in Darwin and over the top of it I have a second layer. And on the right hand side is the exact duplicate of the layer below. And on the left hand side is just the color pink because we’re going to have a look and see how these blend modes work not only with images where you’ve got two layers that are identical but also what happens when you have for example a layer that is different. And the three blend modes that are really handy to use are got to by clicking this blend mode dropdown list in the layers panel in Photoshop.
If you can’t see your layers panel choose Window and then Layers and that will show you your layers panel. When you’re using blend modes you’ll always use the blend mode on the topmost layer or the layer that you want to affect. And it will affect how this particular layer blends in with the layer or layers below.
The first blend mode we’re going to look at it is this one here. It’s Screen. Now you’ll see that the blend modes here are grouped together. The blend modes in this particular group are the lightening blend modes. They are lighten, screen color, dodge, linear dodge and lighter color. And we’re going to look at screen in this particular group. And screen always lightens an image. So you can see here that the image is lighter than it was in the original. Here it’s colored this sort of pink tone. And here we’ve just got the original image over again, but it’s a lighter version. This is a blend mode that you can use to salvage an underexposed image. If you’ve got an image that doesn’t have enough light in it, you could use the image on each of the layers and then blend the top one into the bottom using the screen blend mode. And that will lighten the image and bring detail out of it.
The next blend mode we’re going to look at is similar but works in the opposite way. This is a darkening blend mode. And it’s accessible from this darken group of blend modes: darken, multiply color burn, linear burn and darker color. And in this case the one we’re going to use is multiply. And multiply darkens the image. You can see that we’ve got a darker version of the image with this sort of pink overlay. But here where we had the image on the two layers, the exact same image on each of the two layers, you can see that we’ve got a darkening of the image. This would be useful if we had an overexposed image. If we put the overexposed image on two layers and then blend them together with the multiply blend mode, we’ll bring back some of the detail in the overexposed image.
The other of the blend modes that you’ll typically use in Photoshop is overlay. It’s in this group of blend modes, and it’s one of the contrasty blend modes. What this does is it lightens everything that is lighter than a mid-gray and it darkens everything that is darker than mid gray. So it’s a nice contrasty blend mode. Let’s have a look here at what it’s doing to the image on the right. You can see that this is a flatter sort of image. And when I turn on this layer we’re getting a lot more contrasty image. And that’s what’s happening on the left too is we’re getting a contrasty, a colored version, of the original image. Anytime you want to boost the contrast in an image you can use the overlay blend mode.
So the three blend modes that I suggest that you look at using with your photos in particular are multiply to darken, screen to lighten, and overlay to add some contrast and punch. Now if you find that a certain blend mode is too much let’s just get rid of this particular layer and let’s duplicate the image itself. And let’s go and use the overlay blend mode. And if this is too much of a contrast enhancement to the image all you need do is to back off the opacity of this layer. This will give you some of the layer below and some of this additionally contrasty layer so that your image gets more contrast but perhaps not as much as it would have if you’d had this layer at 100 percent opacity.
I’m Helen Bradley. Thank you for joining me for this video tutorial. Look out for more of my tutorials on this YouTube channel. Comment on the video and like it if you like it. And look out for more tips, tricks and tutorials on Photoshop, Lightroom, Illustrator and a whole lot more at my website projectwoman.com.
Learn how to combine two images to make a collage. Includes use of Blend modes in Photoshop, color range color selection, clipping mask, layer mask, hue saturation adjustment layer, drop shadow layer style.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial I’m going to show you how you can create some simple collage effects using blend modes in Photoshop. This is the effect that we’re going to create in this video tutorial. I’m going to show you how you can put the pieces of this together in just a few minutes using a couple of images and some blend modes.
We’re going to start off with this image and another one that I shot at the neon boneyard in Las Vegas, and that’s giving us the texture. And we’re going to combine these two images with a blend mode. And then we’re going to extract the color from this original image, this sort of orange color. And we’re going to recolor it using a Hue/Saturation adjustment layer. But if we wanted to leave it at this point we could leave it just with that additional color. And we’ll also going to add a drop shadow with a different color behind it.
So let’s see how we would create this effect. And I’m going to start with my two images, and I’m going to put one image into the other. So I’m going to grab this neon boneyard image and I’m just going to drag and drop its background layer in on top of this original image. I’m just going to size it so that it’s right over the top. And the first thing I would do with a collage like this is look and see what sort of opportunities I had with blend modes.
So I’ll generally select the first blend mode in the list, Dissolve, which generally gives me nothing at all. And now I can just arrow down and see what happens when I click on each of these blend modes. And all I’m looking for is something interesting. And you’ll generally get a better effect with this if you use images that are a little bit more textural and a little less like something where you don’t really particularly want to bring out of the image exactly what was in it. But you want to discover how these two images can interact with each other and what you can do with them as they interact. So that’s all the way down through the blend modes. And so I’m going to go back up and I’m going to settle on something that I want to use. And generally the most interesting bits are going to be in the overlay or the contrasty area. So in this area and sometimes even with lighten and darken.
So let’s just go up through these and find something that we like. And I’m thinking actually I might like something like this perhaps with the Opacity dragged down a little bit. Now what I want to do is to bring out the orange color in the original flower so that I can lighten them a little bit in this layer here. And what I’m going to do is create a duplicate of the background layer. And I’m going to drag it above the image. So right now all we’re seeing is this original background. And what I want to is to select the leaves in it.
Now the leaves are really bright colored here. So I’m going to choose Select. And in this case I’m going to use Color Range because it’s going to be the easiest way to select these leaves. Now either I can select on the sampled color and add to it this way by just clicking on these leaves or I could use just the reds and just grab the reds. But I think Sampled Colors is actually going to give me a slightly better effect here.
So let’s just go back to this and let’s choose Sampled Colors here and just click Ok. Now that has isolated the leaves here and what I want to do is to keep these leaves but drop the rest of the image out. And I’ll do that with a mask. And because my leaves are selected, all I need to do is to click on the Add Layer Mask icon. And what happens is that the leaves are then masked and left behind and the rest of the image is just dropped away. So this is the before and this is the after. And you can see we have brought in the color from these leaves.
Now if we wanted to we could even lighten this color. We’ve got some of the orange color in. But we may want to brighten it up even more. So I’ll make sure that my image layer is selected and choose Image, Adjustments. And then I could use levels or curves. I’m going to use levels, and I’ll just lighten this is a little bit and click Ok. Now in the earlier image that you saw we had actually colored these blue and it’s very easy to color them blue.
To do that we’ll choose Layer, New Adjustment Layer and we’ll choose a hue/saturation adjustment layer and just click Ok. Now I want this adjustment layer to only affect the red leaves so I’m going to clip this. So with this adjustment layer selected I’m going to choose Layer, Create Clipping Mask. And so anything that I do to this adjustment layer here is only going to affect the layer below, just these red flowers. So now let’s double click on the Hue/Saturation adjustment layer and now we can go and make some changes to it. And I’m looking for a blue color which will either be at this end or this end of the hue slider. So I can get to either this sort of greeny blue if I wanted or I can get to a sort of purplely blue. I’m thinking the greeny blue will be pretty good here. And now I can adjust its saturation and its lightness from here. So when I have what I like I’m just going to close that dialogue. So that has recolored those leaves to a bluey color.
And finally let’s add a drop shadow behind the leaves. So I’m going to select the leaf layer, and I’m going to choose a drop shadow effect. Now drop shadows might start out being dark but they don’t have to end up being dark. So what I’m going to do is go and find a really cool color for this drop shadow. And I’m thinking a really, really bright pink will do me. So let’s choose that. And I want to up the opacity of this. I could set it to normal so it’s going to be a very, very pink shadow. And then I’m going to adjust the settings for this. Spread is going to be the size of the shadow and softness or size is going to give me some softness. But there’s a very small sweet spot here on this that I can very, very easily exceed. So I’m just going to add my shadow in. And I think I’m going to multiply blend mode my shadow, not apply it with the normal blend mode. Although I could use normal for example with a much lower opacity if I wanted to give it this sort of pinky color. I might leave it at that.
So there’s a way of creating some interesting collage effects. And all we’ve done is grabbed a couple of images and put them on top of each other and blended them with something that counts as being an interesting blend mode. And then I isolated the orange flowers in the image and brightened them up. I also added a drop shadow in a very contrasty color. And I added to a hue/saturation adjustment layer that only effects these orange flowers to use the brightness of them but to color them a different color. And you can do all sorts of things by just combining images. And that gives you lots of practice at making color selections, using clipping masks, using masks, using blend modes and just having a little bit of playtime and a little bit of fun creating interesting effects in Photoshop.
I’m Helen Bradley. Thank you for joining me for this video tutorial. Look out for more of my tutorials on this YouTube channel and please like and comment on the tutorials if you would. Also visit my website at projectwoman.com where you’ll find more tips, tricks and tutorials on Illustrator, Lightroom, Photoshop and a whole lot more.
Learn how to make half tone effects with hearts (instead of dots), in Illustrator. Uses the Blend and the Transform tools for this effect. This is part 1 of a two part series on halftone hearts.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial I’m going to show you how you can make halftone hearts in Illustrator.
Before we get started creating our halftone heart effect let’s see what it is that we’re aiming for. And this is the effect that we’re going to create by the end of this video tutorial. And if you look at the link below for the next video tutorial in this series I’m going to show you have to create this effect and this one too.
But for now let’s get started on this effect. I’m going to create a new file by choosing File and then New and click Ok. I’m going to view my rulers so that I can drag a guide in that I will use as a guide for drawing my shape. I’m going to grab the Pen tool. I’ll click and drag on the guide. I’m going to add a curve over here, another one here, and one finally back here down on the guide. And I’m just going to Ctrl click outside to disable that Pen tool. And here is my shape. And obviously I need to do something with it before we go any further.
I’m just going to adjust these points so that we get something looking a little bit more like a heart shape. I’m going to get rid of my guides so I’m just going to clear my guide. And let’s go back over, select this shape and let’s give it a stroke. So with the shape selected I’m going to give it a pink stroke, and I’m just going to make that a bit of a larger stroke so we can see it clearly. To flip this shape to make the rest of my heart I’m going to first select the shape and then I’m going to click the Reflect tool which shares a toolbar position with the Rotate tool.
The first thing to do with this tool is to click on the anchor point across which you want to flip it. So that’s going to be either this top point here or this one here. It doesn’t matter which. I’m going to Alt click on it. Now I’m getting that reflected shape sort of across the vertical access and all I want to do is to click Copy to make that a heart shape. And now I’m going to join it together by selecting it and choose Object Path Join. And here is now my heart shape.
Now I want to size this down a bit. Actually I’m going to scale it in proportion. And I’m going to make a duplicate of it so I’m going to hold it as I drag a duplicate away. And I just want to tuck this duplicate out of the way for the minute. I don’t want it around but I’m but I’m going to need it a bit later on. So let’s go and select this one and let’s size it down to be the starting point for our halftone heart. So I’m just going to fill this with pink. And I want another duplicate of this so I’m just going to Alt drag a duplicate away. And this is going to be the top one of my hearts. And I want these to line up, although right now is not the time to line them up. I’m going to size it down first of all. So this is going to be my little heart. This is going to be my big heart. And now I’m going to place it in position.
So I want these to align perfectly to their mid lines. They’re not doing that right now. There we are. This is the line that I want. I want to make sure that they’re perfectly aligned so that the point of this heart lines up with the point of this one. And I’m going to change the color so this one I’m going to make quite a sort of dark crimson color. Only I wanted that for its fill and not its stroke. So we’ve got a dark large heart and a very pale pink small one. What we’re going to do now is to blend these two shapes together so we’re going to blend the little and the big heart together. So we’re going to use the Blend tool here on the toolbar. So I’m going to select it and then I’m going to click on the first of the shapes and click on the second. And that blends these two shapes together.
Well it does such a good job that it looks nothing like what it is that we really want. So I’m going to double click the Blend tool to open the Blend options dialog. First of all I’m going to enable Preview and I don’t really want Smooth Color. I want Specified Steps. At the moment there are 127 steps to blend these two shapes and colors together. And I don’t want that. I want to actually see the shapes. So I’m thinking I’m going to start with something like 25 steps and see how that looks. That’s pretty good. Probably let’s just try down to 20 on this one. The other thing that you can do is you can also use Specify Distance as well as Smooth Color. So we don’t want Smooth Color. We definitely want to see these shapes. And we can either go with steps or distance. But I think that’s pretty good so I’m going to click Ok to accept that.
So now we’ve got the first of our lines of hearts and we just want the rest. And we get the rest with a Transform effect. So I’m going to click Effects and then choose Distort and Transform and we’re going to choose Transform. And here’s the Transform dialog. Again I always want to click on Preview so I can see what’s happening here. And let’s do 15 copies. And what I want to do is to make each copy a little bit to the side of this one. So I’m just going to choose Horizontal Move here. And I’m going to move these apart until they are looking like what I want them to look like. Now I quite like that but I think I don’t have enough copies. So I’m going for 25. What I want here is I want these hearts to run into each other. I made it so that the ones would run into each other in the vertical direction. And I want these in the horizontal direction also to run into each other so that I get this final effect. So I’m just going to click Ok.
And there is my effect that we came here looking for. This is a halftone set of hearts. And they vary from light at the top, very small too dark at the bottom. And if we want to create these so that we can work with them we’ll expand them. So with this line selected I’m going to choose Object and then just Expand Appearance. And these are now grouped but their appearance is expanded so we can work on them a little more time. Here is the Link on working
Learn to use recursivedrawing.com to create a fractal tree that you can then use in a Photoshop collage. This video shows you step by step how to create the fractal tree and then how to copy and paste it into a Photoshop collage. Also, how to blend it seamlessly into the collage document.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial I’m going to show you how you can create fractal trees online that you can then use in collages and other images in Photoshop. This is the kind of recursive tree that we’re going to draw. And one of the benefits of this is that we can grab it and use it in a Photoshop image.
So let’s have a look and see how it’s put together. It’s put together with a single rectangle that’s a long rectangle and then we’re just going to draw it as a fractal tree. So I’m just going to click down here, this plus sign, to get started with a new image and let’s start with our first tree.
To create a tree we’re going to start with a rectangle or square and drag it to make a nice long thin rectangle which is going to be the trunk of the tree. And I’ll just place it in position at the bottom here. Then I’m going to go and drag this element which is the element I just created but this time I’ve got multiple versions of it. I’m going to push it so that I make this sort of recursive element.
Now it is really easy for this tree to get away from you. And if it does just stop it and just go and start again until you get really used to the tool and what it’s going to do it because it can behave really, really recursive and go everywhere really, really quickly. So I’ve now got that part of the tree. Now I’m going to go and grab the tree back again because I want it in here. And this is usually where if I’m going to lose it I’ll lose it at this point. But let’s call that good for our tree because that actually is quite a good tree. You’ll watch it until it’s finished drawing and when it’s finished drawing you won’t see any more changes around the edges.
So this is looking pretty good to me so I’m going to press the Print Screen key to take a screen print of it. And now I’m going to launch Photoshop. In Photoshop you can see I’ve already got a few trees hanging around. I’m going to choose File and then New and then click Ok because that is an image now the size of my clipboard. So all I have to do is do Edit Paste. And here is my tree.
So the first thing I’m going to do is make a selection around the tree itself and then I’m going to choose Select Inverse so the rest of the image is selected and I’m going to delete it just to get rid of it. I’m also going to get rid of the background layer so all I have right now is the tree itself. I’m going to select the magic wand tool and I can just click on the white and just press Delete and that will get rid of all the elements except the tree itself. And at this point I can just crop it down to size.
Now I would save it at this point because that means I’ve got a tree then I can use in anything in future. Now I have a texture image here and it’s a pretty big texture. And this image is pretty small so I’m probably just going to reduce the size of this down say 50 percent so that our tree is going to look a little bit better on it. With the texture image and the tree image both visible I’m just going to drag the layer of my tree image onto my texture. And here it is. I’m just going to make sure that I move the tree and not the background.
Now if you find that there’s a little bit of haloing around the edges of your tree so if you brought in a little bit of white that you want to get rid of you can do so. And the easiest thing probably is just to set this blend mode to darken because what that does is the white pieces on the tree anything that was a sort of legacy piece of white isn’t going to be brought in because it’s going to be lighter than the background.
So there are all sorts of trees that you can create using that tool. You can be successful and less successful depending on how you go. You can see I’ve got some really nice trees and I’ve got some pretty horrible ones as well. But that tool can be used to create fractal trees that you can then access to use in your images in Photoshop this way.
I’m Helen Bradley. Thank you for joining me for this video tutorial. I hope you enjoy the recursive drawing tool. Look out for more videos on my YouTube channel here and visit projectwoman.com for more tips, tricks and tutorials on Photoshop, Photoshop Elements, Illustrator, Lightroom and lots of other handy graphics techniques.
Learn to use Masks in Photoshop. Here we look at how to collage a series of images together, using masks in Photoshop.
Transcript:
Hello, I’m Helen Bradley. Welcome to this video tutorial. In this tutorial we’re going to look at Masking 101. So we’re going to get you started with masks in Photoshop.
In this introduction to masks I’m going to show you how you can use masks to create images like this collage image. This collage image has been built up from a number of images and they’ve all been masked so that everything can appear nicely on top of each other.
The first image was the tail end of some cows and then I added an image of a tree. And this image has been masked so that we can see part of the cows’ tails behind it. But you can see that these two images are sort of blending into each other with this mask effect. Then we have the cow by herself and again we’ve masked her so that we can see the image of the tree behind her. And then we’ve added an image of some hay over here, and again added a mask to the hay image around the edge of the cow so that we’re getting this sort of almost seamless blended effect all the way across the image. And then we’ve got some milk cans and then finally we had some different effects that sort of tied the whole thing in together. But we’re going to have a look at masks and we’re going to have a look at it doing the last three images in this particular collage, just seeing how that would have been put together.
So I’m going to open the images. I’ve got a couple here open already. I’ve got the milk cans and the hay and let’s just go and get the cow. And I’m going to create an image that these will all going into. I think a thousand pixels is a bit too big so let’s try 800. And to start off with I’ll just drag and drop these images in. But this cow needs to be flipped first of all because I had her flipped in the original. So I’m going to flip her there and then just drag her in here. I’m just dragging on the layers and then just pressing V for the move tool so that I can move her into position. I’m holding Shift as I scale her up to full size. I don’t want to save the cow image. I want the hay image now so I’m going to drag and drop it into position. And I’m going to make sure I’ve got a fairly hefty overlap here because the overlap is going to allow me to blend these images together. And finally the milk cans and drag and drop them into position. And that’s a pretty big image too. I think actually it’s much bigger than the others. I’m pressing Ctrl T and then Ctrl 0, that’s Command T, Command 0 on the Mac, to just re-size these milk cans and just drag them into position.
So I’ll start off with a collage like this by just grabbing my images and just pulling them into position with a nice hefty overlap. And in this case I’m going to crop these images so that we don’t have anything extra hanging around. And now let’s go ahead and do the blending. And I’m going to do this by first looking at this layer here the cow and the hay. So I’m going to zoom into this area so that I can see what I’m doing, move the image across, and I need to mask this hay layer.
So to do that I’m going to click the Add Layer Mask icon here and that adds a mask to the hay layer. I need to have that mask selected. I need to select a brush to use. I’m just going to make sure that I have a brush here. I’m looking for a sort of solid-ish brush. This is a hard mechanical 38 pixels. Now it’s too hard but I can soften it by just taking down its hardness to make it nice and soft. And then I’m going to make sure that my mask layer is targeted and I’m going to set these colors here to their defaults by pressing the letter D.
Now we can already see that if this mask is white we’re seeing the hay. So that means if I want to see the cow I need to paint on it with black. So I’ve got black paint now. I’ve got the mask targeted and I’m painting on the mask where the cow is to bring the cow back in through the grass. Now I’m not going to be a 100 percent fussy at this stage because one of the benefits of using masks is that we can come back later on and edit it. So I’m looking for the edges of the cow but I’m not worried that I’m getting a bit of extra green here because I want to know where her edges are so then I can get a little bit closer to her in a minute. So I’ve got her pretty much there.
Now I just need to neaten it up. And to neaten it up I’m going to switch to white being my foreground color. I’m going to get a much, much smaller brush, make sure I’ve got my mask targeted and I’m going in close to the cow’s face here to make sure that I get an edge that gives me none of this green because it’s a really, really bright green that she’s standing on. And it’s not really doing a lot. The hay image I think is the prettier image. So again I’m just going to get close in to her here. Now this might take me half an hour to do to get a really nice result and the sort of result that I want. And I can also start working with a larger softer brush so I can make sure that I have it even softer. And I can work with a lower opacity if I want to and I can even paint in mid gray because with masks you can paint in black or white or any shade of gray because a mask is a gray-scale image. Now I’m just having a look at these milk cans. And I think that probably there’s one too many. So before I go much further I’m going to select the milk can layer and get rid of this first one because I don’t really like it that much. Now I’m going to grab the next three, I’m just going to move them over a bit.
There’s a bit of excess image hanging around but I’m not too worried about that. I’m going to add a layer mask to this layer. So now we have the overlap. And I want to bring the grass through the milk can so I’m going to paint on this layer again in black and white. So again a nice big brush, I’m going to switch colors by pressing the X key because I want to blend these images in together. I want to sort of suggest that there’s a seamless transition from one image to the other. And I’ll do that with a very soft edge so we almost can’t see where the grass image ends and the milk cans begin. And with this particular image I found that there was enough shine on the milk cans that we could perhaps even suggest that the grass image was showing through the milk cans. And I’m doing that by just adjusting down the opacity of the brush. So I’m not painting it full opacity and I’m just tapping where I want perhaps a little bit of the grass image to appear, again to really blend these images together. And if I’ve made a mistake and if I want to go back then all I need to do is change my paint colors and I can go back and paint out the effect that I’ve just painted in. And I can do this over and over again until I get the exact effect that I’m looking for.
Masks are a handy way of blending images in a way that allows you to come back later on and make changes to it. If I were saving this masked image because I want to make changes to it later, I want to come back and work on it a little bit later, I would do so by saving this as a PSD file. So I’d choose File and then Save As and make sure that when I’m saving it, it’s being saved as a PSD image. That will ensure that the masks and the layers are all there when I come back next time. The biggest mistake you’re going to make when you’re working with masks is when you actually work on the image instead of the mask itself. So if you start seeing that you’re painting in black, that’s telling you that you have the image layer selected not the mask layer. If you’re working on a mask you really need to have that mask layer selected.
I’m Helen Bradley. Thank you for joining me for this video tutorial. Look out for more video tutorials on this YouTube channel and visit my website at projectwoman.com for more tips, tricks and techniques with Photoshop, Photoshop Elements, Lightroom, Illustrator and lots more.
A reader recently emailed me a couple of photographs of her children. Unfortunately, as often happens with small children, one image had two of the three children looking at the camera and smiling and the other image had the exact opposite combination – only one child looking great. Her question was – could she take the good face from one of the images and paste it into the second image.
The answer is yes, and here’s how to do it in Photoshop without any need to cut and paste:
Step 1
Open both images in Photoshop. Drag the background layer from one image onto the other – in my case I dragged the background layer from the image with two out of the three faces correct and dropped it into the image that has only one good face.
You will have an image with two layers – the top has two good faces and the one below has the other one. Close the other image.
Step 2
Select both layers in the image that you’re working on and choose Edit > Auto-Align Layers and select Auto.
Photoshop will now align the two layers so that the faces in both layers will be aligned on top of each other. To do this you need to have two images with very little difference between them and this image lined up pretty well as a result.
Step 3
Click on the topmost layer and add a layer mask to it by clicking the Add Layer Mask icon at the foot of the Layers palette.
The mask is filled with white by default which means that the entire contents of the top layer is visible and the bottom layer not visible at all.
Step4
Select black as your foreground color and choose a soft edge brush. Target the mask by clicking on it so you’re painting on it and then paint over the child’s face in the image to reveal the face from the layer image below.
Step 5
You’ll need to make some small choices about how much of the layer below you reveal with the mask – if you take too much you can paint back on the mask with white to reveal the top layer again.
I made some small adjustments around the child’s collar to hide the fix. The red portion of the image shows the mask – I turned this on – it won’t typically be visible to you as you work.
Step 6
Finish by taking a critical look at the final image and, if necessary, adjust the mask or add a new layer and clone elements from the layers below to fine tune the image.
I had to do a small amount of cloning of the little girl’s shirt to fix a small problem and then I cropped the image and it was complete.
The entire process took all of around ten minutes.
Photoshop Elements
You can get similar results in Photoshop Elements 7 and above by opening the two images and choose File > New > Scene Cleaner and follow the instructions there.
