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* To turn off the selection (the blinking dotted lines go to the Tabs at the top of the screen and click on 'Select' > 'Deselect'

* To turn it back on go to 'Channels' > click on the channel you wish to reselect > click on the dotted circle to the bottom right that says 'load channel as selection'

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Look on the left side of photoshop for your toolbar. Choose the image that is 4 down it looks like a brush with dotted lines or a magic wand. To switch between the two right click on top of the icon and click magic wand. Once selected begin clicking on the part of the image you want to be visible. If everything you want is not correctly selected, right click again on magic wand and choose 'Quick Selection Tool' with the + wand chosen you may add to your selection with the - sign chosen you may take away from your selection. Continue tell you have the exact selection you want. Next right click and choose save selection making sure that Operation: new channel is chosen. Remember to name your selection, because your final composite will have many layers and many selections so to keep everything organized and quickly accesable.

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1. Once you have a mask or selection active. (the dotted lines are flashing around the part for the part of the image you want to adjust)

2. Click on the layer you wish to adjust under the 'layers tab'

3. Click on 'create a new fill or adjustment layer' (it is a circle that is half shaded in on the bottom right of your screen)

4. Choose what you wish to adjust (in are case choose 'levels'

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Sometimes it may be easier to make a selection of the part of the image you don't want selected. For example, the background. In this case simply go into 'Select' > 'Inverse'. Now you will have a perfect selection of the part of your image you need.

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1. click on channels to the right of the layers tab.

2. turn on visibility (the eye) next to your new selection or mask.

3. what has a mask over it will be shown in a transparent red.

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There are several different ways to create a selection. Below we will go through a few of the different ways you can go about making your selection.

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Different topics under the scope of Layer Masking:

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Different topics under the scope of Layer Masking:

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1. Selections: Allow you to select a particular part of the image.

2. Layer masks: Allow you to identify which areas of an image will be visible and which will be hidden. (affected by a particular adjustment)

3. Alpha channels: A channel that reflects the visibility of pixels within an image.

-All three simply represent a black and white image showing what is visible and what is not. The 'white' represents something that is enabled or visible and the 'black' represents something that is disabled or invisible. sometimes there are shades of grey these shades represent parts of the image that are partially enabled or partially visible.

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Introduction to selections and photo masking

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Photoshop CC Selections and Layer Masking Workshop

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Learn how to make selections and create a layer mask in Photoshop CC to create composite images and apply targeted adjustments.

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1. Make it able to create composite images.

2. Apply targeted adjustments affecting only a specific area of an image.

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"Remember how I became a selection" - Mr. Pugglesworth

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"Remember how I became a selection" - Mr. Pugglesworth

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To access and save your images in Photoshop

1. Click on 'Finder' (the blue smiley face icon on the bottom left of your desktop)

2. Click on 'Applications'

3. Double click on the 'Adobe Photoshop' folder

4. Click on the Square that says 'Adobe Photoshop CS6' (a blue square that says Ps)

5. Once in Photoshop click on File > Open > Documents > find your folder click on it > select one of your pictures > Open

6. To zoom into your image hold down the 'window' key while hitting the plus sign. To zoom out hold the 'window' key while hitting the minus sign.

7. When you have finished creating your mask for your image click on File > Save As > click on the 'where' drop down menu to choose 'documents' and if you

can your folder > name your image if you want a new name for it > make sure alpha channels and layers are both selected > Format is 'Photoshop' > and hit save.

8. Repeat for all of your layers EXCEPT for your background layer.

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MASKING

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1. How many layers do I need to tell my story where the audience understands what I am trying to say?

2. Is the perspective (direction of the camera the same for all of my elements?

3. Am I pushing myself to create something I will be proud of?

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Push your imagination

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what is her story?

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1. Decide if you want to do composite project A or B.

2. Brainstorm your design idea on sketch paper using

simple drawings or words.

3. Make a list of the stock photography you need to collect

(background image, atmosphere layers, personal interest

objects)

4. If you have a camera write down where you will be

taking the photo of yourself. If you are choosing to do the

multiplicity photo this is very important in creating an

exceptional and interesting concept.-or-If you do not have

access to a camera you need to reserve time with Ms. B

for her to take your picture during school hours and where

on campus.

5. Create a folder with Ex: (Firstname_Lastname) nested inside

of >my documents > the folder I have created with your

classroom teachers name and grade level.

6. Begin researching and collecting stock photographs for your

design. (Remember to collect images with a resolution higher

than 300 and higher than 1000 for the back ground)

To save an image: LEFT click on top of the image >

choose 'save image as' under the drop down menu >

locate your folder you have just created > open your

folder by 'double clicking' on the image of the folder >

once you are in your folder under Name: you must

name the image> then click SAVE (the image

should now be saved inside your folder)

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Objectives:

1. Students will learn what it means to 'composite' elements together.

2. Students will research and collect stock photography

2. Students will discover how to begin using the application of Adobe Photoshop

This will be shown through the use of: masking, the pen tool, selection,

move tool, developing multiple layers, lighting, creating shadows,

value adjustments and opacity.

2. Students will design a composite self portrait using either:

A. A fantasy scene incorporating an image of themself, a background

and personal interest objects (ex: The girl to the left likes reading so

she included her personal interest objects as books)

B. A multiplicity scene using multiple images of ones self in the same

environment paired with a background image.

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Compositing is the combining of visual elements from separate sources into single images, 

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Compositing is the combining of visual elements from separate sources into single images, 

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often to create the illusion that all those elements are parts of the same scene

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What story does an action shot reveal

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Explore the surreal

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multiplicity combined with singularity

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Single Camera Placement

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tutorial

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Here's another great Photoshop tutorial from my buddy Gary Kapluggin. This guy is so creative and his Photoshop skillz rock! If you haven't checked out his first tutorial as a guest poster on Yanik's Photo School, have a look! You'll be amazed at what this guy can do in post processing.

His digital art skills go wayyyyyyyyyyy beyond mine. And that's why he's back with his human cloning technique. Go ahead and try this technique out and post your images on our Flickr Group! 🙂

Ok, enough babbling. Have fun reading this great tutorial and especially trying it out!

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The two photos for this photo tutorial you can find here: clone_1.jpg; clone_2.jpg

The original photo was created using Photoshop 7. This tutorial is being written using Photoshop CS2, however all the commands are the same.

There are different methods which will reach the same result and I am still experimenting with different functions and masking effects, but I am writing this tutorial using the method I have used with all my cloning images so far. There is probably an easier way?

The first and most important part of creating a cloning image is to have an idea. Think of something original, sketch it out on some paper, or have an image of what you want to do in your head and get prepared for the photo shoot. Important is that you use a tripod so that the background is always the same in every shot you take. I usually use the timer on the camera and run over to where I want to be and take up position. A remote control is also possible, but not very advantageous if you want to be seeing both your hands in the photo. Important is to take many photos! More than you think is necessary because the positions may not always be fitting for the final image. The more photos you take the better. Also remember that when taking photos outside the lighting conditions are constantly changing, so shoot in RAW and in manual whenever possible.

To the processing side of things:

First open both the files clone_1.jpg and clone_2. jpg in Photoshop (I don't know how to use anything but Photoshop so I cannot say how it is done in other programs).

Using the "move" tool together with holding the "shift" key, pull "clone_1.jpg" onto the "clone_2.jpg" photo, this will result in "clone_2.jpg" now consisting of two layers. The reason for holding the "shift" key while doing this is that both photos will be exactly centered. Close the original "clone_1.jpg" photo as you will not be needing this anymore. It is always a good thing to name your layers or else you will get lost later on when you have 20 or 30 layers in the layer palette. All you need to do is double click on the name of the layer and type in the new name. I named these layers "kiwi_1" and "kiwi_2".

Using the "Opacity" slider at the top of the "Layers" palette, look at how the two photos are interacting with each other. Slide it back and forth a few times and you see that the critical interacting parts are where the swords and the legs are meeting.

The next part is the most critical part of the whole process, because if this is not done accurately then any sloppy work will be noticable in the final image. Making sure that the "kiwi_2" layer is highlighted in the "Layers" palette, click on the pen tool to outline what you need from the top layer. What is needed is the top part of the "kiwi_2" layer pushing the sword into the chest of the "kiwi_1" layer. The legs will be hidden behind the clone laying on the ground so we don't need those in our path. The top part is the easiest because the background is the same in both photos, so we can just roughly run the pen tool around with no real precision. The tricky part is where the two photos interact with each other. We have to zoom right into these areas and constantly changing the layer opacity we draw an accurate path around the swords and body contours. It takes a lot of time, but the more time you invest, the more accurate it will be. Here is a screen shot where the top layer is set at 55% opacity.

Once our path is complete we switch to the "Paths" palette and see there is a path called "Work path". We have to save this by clicking on the little black triangle in the upper right hand corner of the "Paths" palette, click on "save path" and give it an appropriate name. Click okay and this path is saved, and will not disappear once you start drawing another path.

The next step is not to create a selection of this path (although it is something I have been experimenting with lately). What I did was switch back to the "Layers" palette, and make sure that the opacity of the top layer is set back to 100%.

Now go to the "Layer" menu, and click on "Vector mask" / "Current path". Everything that is unwanted in the top layer is now masked out completely and we have the two "kiwis" interacting with each other. Notice that the path is still active here and that a vector mask has been added to the top layer in the "Layers" palette.

What I like about using vector masks here is that you can use the "Move" tool to move the top layer exactly to the position you want, a kind of fine tuning. However if you have done everything accurately so far then that is not really necessary. Also you can still adjust the path using the usual pen path editing tools.

Once you are ready we need to rasterize the mask. Go to the menu "Layer"/"Rasterize"/"Vector mask", and now it is set in position and the path lines disappear. The vector path is now an image layer mask.

If you look around where the two bodies meet you will see some hard lines, especially where the legs meet here:

To get rid of these we have to soften up the mask a bit. Activate the image layer mask and go to "Filter"/"Other"/"Minimum" and choose a pixel radius of about "1". You can vary this to however you drew your path. This filter pulls the path back somewhat to subtract any unwanted pixels you might have included from the lower layer. Click on "OK" and you can fine tune this by going to "Edit"/"Fade minumum" I faded to 40% here.

Now we have to soften up the edges somewhat. Go to "Filter"/"Gaussian blur" and set it at about 1 pixel, maybe more if the edges are not soft enough. Again you can use the "Edit"/"Fade" function to fine tune this.

Seeing that you have used an image layer mask to isolate each layer you have not erased any pixels at all and can edit it at any time.

That is it! Do the same for every new layer you pull into the original image and you should have a pretty good cloned image as a result.

I hope it works for you.

Thanks
Gary

----------

Here are some more cloning images from Gary!

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Photoshop Tutorial - Cloning People - Yanik's Photo School

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Here's another great Photoshop tutorial from my buddy Gary Kapluggin. This guy is so creative and his Photoshop skillz rock! If you haven't checked out his first tutorial as a guest poster on Yanik's Photo School, have a look! You'll be amazed at what this guy can do in post processing.

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Be creative

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Explore using multiple layers for your background layer

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Bend your mind

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Play with size relationships

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Tutorial

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Compositing is a skill and process that spans the entire spectrum of creative industries. At the high end, compositing boasts its own specialized profession in film and television post production and visual effects. Dedicated software such as NUKE and Shake have taken the craft to powerful levels of its own, leaving behind the relatively basic compositing toolset of Adobe Photoshop. [Updated June/14/2017]

However, for many graphics practitioners compositing is a vital everyday process - and as with all pixel-pushing endeavors, Photoshop remains the entry point and hub to learning and ultimately mastering the fundamentals of this important skill.

In this article, I'll share some of my own time-saving tips for compositing in Photoshop. Tips such as these should never replace a solid understanding of your craft; however, being able to adapt a technique to make it work for you is part of being a creative professional. I encourage you to share your own creative compositing tips in the comments to this article, and think about how you have adapted existing techniques to work for you.

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Tip 1: Matching Tones, Channel by Channel

One of the challenges we face when compositing is matching the colors and tones of various images to produce a realistic and convincing composite. This method aims to save you from spending time fiddling around with color balances and layers upon layers of adjustments, by showing you a systematic approach that should become second nature and enhance your compositing skill set.

In the following example, we will composite two people into one shot and address the differences in lighting, tone and color balance. I use this technique most often as a way of quickly grouping my subjects into a similar tonal range for further global color adjustments.
Masked images placed on background
In the above image, I have masked out the images and placed them together on a background. (Read on for some time-saving tips on masking.)

The key to this technique is selecting one of the images as your target, and then matching other images to the tone and lighting of this target. Out of the two images, I like the colors, tones and contrast in figure 2 the most, so I've chosen it as our target.

Throughout this article, you will see that I am using Smart Objects. This is an excellent habit to get into when starting any Photoshop workflow. Smart Objects allow us to perform non-destructive transformations on a layer, as well as non-destructive filtering.

Visual Evaluation

We are now entering the exciting world of greyscale tonal evaluation, deep inside the channels of our RGB image - the bare bones of bitmap imaging. We are going to go through each channel of the image and simply try to match the greyscale luminence levels to the target layer:

1. In the Channels palette, solo the red channel by either clicking the channel or using the keyboard shortcut Cmd/Ctrl + 3. You should see the entire image in greyscale, representing the luminance values of red.

2. Select the layer for figure 2 and add a Curves adjustment layer just above it. Make this adjustment layer a clipping mask by Alt/Opt clicking between the two layers in the layer palette. You could also select the adjustment layer and use the keyboard shortcut Cmd/Ctrl + Alt/Opt + G. Now select the red channel inside Curves.

3. Now make a quick, overall visual evaluation of the two images: make a point right in the middle of your curve. If the mid-tones in your target layer (figure 1) look darker than your current layer (figure 2), move the midpoint down to darken the layer to better match your target. If the tones in the target appear lighter than your current layer, move the midpoint up to lighten the layer and better match your target. Use small increments, and continuously use your eyes to evaluate the changes.

If things don't look quite right still, locate the lightest shade of grey (but not white, as this could be a specular highlight - not something you want to factor in much, with compositing) on the target image, and do the same with figure 2. With your eyes darting between these two greyscale shades, move the white slider on the Curves dialog box until the shades visually match. Next, do exactly the same process with the darkest part of the image, moving the black slider in the Curves dialog.

4. Swap over to the blue channel, by either clicking the channel in the Channels palette or using the keyboard shortcut Cmd/Ctrl + 4. Select the blue channel within the Curves dialog box. Perform the same adjustment, starting by creating a center point on the curve, and dragging until the mid-tones in your image match those in the target.

5. Repeat these adjustments for the green channel. Click the green channel in the Channels palette or use the keyboard shortcut Cmd/Ctrl + 5.

6. You can now revert back to your RGB composite image by selecting the RGB channel in the Channels palette, or by using the keyboard shortcut Cmd/Ctrl + 2, and review the changes you have made. It is sometimes necessary to reduce the opacity of the adjustment layer if the change has been too drastic. Toggle the visibility of the adjustment layer to see a "before" and "after" for your adjustment. As we are using adjustment layers, our changes are non-destructive, so it is always possible to go back into the channels and curves to make further adjustments at any time.

The registered changes make an excellent starting point to a compositing task, providing the perfect platform for further color corrections and adjustments. It is very rare that the image will be perfect at this stage, but the images will be more homogeneous and in a better relative condition to each other than before.

As you get more comfortable with this technique, start adding additional points to your curves by sampling tones from your image using the Curves sampler tool.

Tip 2: Gradient Map with Soft Light

Although this is not essentially a compositing technique, it is an especially useful adjustment to perform on a composited image, where the colors and tones often require this type of homogeneous tweaking and subtle realignment. This technique works well as a final adjustment to an image. It has the effect of bringing all colors and tones slightly closer together, whilst still retaining their independence and relevance to the whole image.

1. Add a new Gradient Map Adjustment layer on top of all other layers. You will want to make sure that the layer thumbnail is selected, and not the layer mask thumbnail which is usually selected as default.

2. Next, turn off the visibility of the gradient map layer by deselecting either the eyeball next to the layer, or the eyeball at the bottom of the Gradient Map Adjustment panel.

3. Click on the gradient bar in the gradient map dialog box to open up the gradient editor. As default the gradient map is set to a black to white gradient - not particularly useful for this technique, but actually quite handy at giving us an initial idea of the direction the dark to light tones we will select, should be going in.

We are going to set ten points on the gradient bar - with colors picked directly from our image - going from darkest to lightest. First, click on the black point of the gradient and hover over the image; you should see the Eyedropper tool. Locate the very darkest point of your image and click; if it is black or very close to black, you won't see much change in your gradient map. Now click just below the gradient bar, a small space away from the gradient point you just changed, to add a new gradient point.

Don't worry about the distance between the points at this stage; we can change this at the end. Hover over your image again, select the next darkest area, and click. Continue with this process, adding progressively lighter points to the gradient bar all the way down to the white point, changing that to the lightest color in your image. You should aim to have ten points in total, although a few more or less is fine. Try to space out the points evenly before pressing OK.

4. Turn on the visibility of the gradient map layer once more. You will probably see a frightening rendering of your carefully composited image, and you may be wondering now what you have just gone and done. Don't worry; this is to be expected. Change the gradient map layer's blending mode to Soft Light and reduce the opacity until you are happy with the image once more. Check the change by toggling the adjustment layer visibility on and off.

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Tip 3: Black & White Overlay

This is a great, quick trick for compositing that is perfect for those times when simply closing the job is a priority. The effect applies a stylized adjustment which tempers the colors in the image and increases contrast, especially useful in stylized shots such as sports imagery. The effect of the adjustment immediately makes the images more congruent, and this is what compositing is about.

1. Add a new Black & White adjustment layer above all layers you want to affect, and set the adjustment layer's blending mode to Overlay.

2. The great thing about the Black & White adjustment layer is the amount of control it gives you over the desaturation effect you have made. Adjust the color balances in the adjustment panel, and finally reduce the opacity of the layer to an effect you are happy with.

Tip 4: Lighting Direction

Often, one of the most difficult aspects of compositing is dealing with the direction light is coming from. Different images may be lit with the same intensity, with the same coloring and within the same tonal range, yet if the direction of the light is different, it can be fatal to the realism of the image.

The images above will be composited into one shot with an efficient, non-destructive way of addressing light directionality.

Once masked and placed on the background, we can see that the light on the two buildings is coming from opposite directions. We could flip one of the buildings horizontally, but this is often not an option in cases where we need to preserve the original angle and direction of an image.

Painting Shadows and Highlights

We will choose the light direction we wish to maintain, out of the two, and only work on the layer which we need to change. There are a multitude of methods for painting in shadows, so my main piece of advice is: do it non-destructively. Try this method:

1. Add a new Curves adjustment layer above the layer you wish to affect. Make this adjustment layer a clipping mask by Alt/Opt clicking the line beneath the layer in the layer palette. You could also select the adjustment layer, and use the keyboard shortcut Cmd/Ctrl + Alt/Opt + G.

2. Make a point on the middle of the curve and move downwards to darken the layer. Fill the adjustment layer's mask with black, and paint with a soft white brush into the layer mask to add shadow.

3. Reduce the opacity until you are happy with the effect. You can always paint back into the layer, or use lower-opacity brushes, to get the effect just right.

4. To neutralize the shadow which exists on the wrong side of this same building, repeat the process by adding another Curves adjustment layer and setting it as a clipping mask. Add a mid point to your curve and move the curve upward to lighten the image. Fill the adjustment layer mask with black, and paint with a white brush over the shadow you wish to remove. Reduce the opacity quite a lot, until the shadow is no longer prevalent.

Of course the composited image is still nowhere near perfect, but that change in lighting has made a difference which now lets us imagine these images could exist in the same world; that's a great starting point for a compositing task.

Tip 5: Super-quick Previewing Using Blending Modes

Blending modes and tools offer a really powerful set of compositing features which can be used to speed up a lot of tasks. The following is a very simple trick which many people know about, but often forget.

Here is the scenario: you need to composite an image of a glass of milk on an image of a table.

Sourced images for compositing

You have sourced the images you think would work together, and you need to check if the glass will sit realistically on the table, if the angles will line up and if the perspective will be convincing. However, you are so squeezed for time that even a rough trace of the glass would take too long. Luckily for you, the glass of milk has a black background.

Removing Black or White

Photoshop offers ready-made blending modes for removing black and white from one layer placed on top of another. The Multiply blending mode will render white pixels transparent, while the Screen mode does the same with black pixels. Both blending modes will also affect how other tones in your layer interact with the layer below, so unless this effect is something you are going for, this technique is usually best used to preview images which are on solid black or white backgrounds. This is massively time saving, and is a great way of ensuring you are happy with the image before you commit to masking it out.

This can also help you when sourcing images for a time-sensitive task; knowing that solid black or white backgrounds can be so easily removed for previewing will help you identify the images most appropriate for your use.

Tip 6: Masking

Masking out an image is key to almost all compositing workflows, and is often the most time-consuming, tedious part. You have two main areas of masking to choose from when an image needs to be isolated from its surroundings. Manual masking is the preferred method of most top graphics professionals: usually this means using the pen tool, brushing in Quick Mask mode, or using the images channels to create an Alpha Channel mask. Alternatively, automatic masking can be effected from an ever-increasing range of tools and third-party plug-ins within Photoshop. Which method you choose will often be determined by how much time you have, the complexity of the task and the intended use of the image.

Rather than going through every masking technique (there are plenty of resources out there, if you want to learn about how each tool works), here is a quick run down of some time savers.

Quick Mask for Web Imagery

It might sound obvious as a time-saving trick, but when you need to mask an image in super-quick time, the Quick Mask really can be a life saver. I use it for Web imagery, as the edge details will then not be so apparent at the fixed pixel view the user will have. It is also important to choose an image with decent contrast between your masking subject and its background, or the Quick Selection tool will not do a great job with really tough selections.

Know Your Background Color

You can often save a lot of time masking, if you know and bear in mind what background your masked image will be composited on. Keep you goal in mind; when you need to get the job done, release your mind from the constraints of perfect masking and do the bare minimum!

Refine Edge

The Refine Edge tool set is a very powerful, non-destructive set of tools to help you refine any selection that is currently active. It can save you time, in fixing problem edges you may have encountered with other selection tools. The values in the Refine Edge dialog box remain constant from one adjustment to the next, meaning this tool can also be great for ensuring the edges of composited images have the same level of softness, smoothing and contrast.

For Photoshop CS5 only: Photoshop CS5 has a time- and frustration-saving tool lodged inside its Refine Edge feature which can yield outstanding results. When it comes to masking fine details, every designer will tell you that hair is the most challenging. The Edge Detection tool allows you to identify the unwanted colors in your image while intelligently masking edge details; it can effectively identify the finest hair details and mask them out in a non-destructive dialog box, with minimal work on your part, and do a very convincing job.

Pen Tool

One thing I always do with the Pen tool, is keep a finger hovered over the Alt key; this is really useful as at any point, you can hold it down to move just one handle, and to freeze the corresponding handle in place. You can also Alt-click any point on your path to toggle between a corner point and a smooth point.

Conclusion

There is no shortcut to becoming proficient on your chosen tool or in your chosen craft, be it Photoshop or anything else; but once you have mastered a tool and understand its power, it is then up to you to do what you do best: be creative with it. This means looking at those everyday tasks you do, the time limitations you are faced with and your ability to improvise. Look under the hood once in a while, and be creative and inventive with everything you do!

Further reading

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Compositing in Photoshop: Time-Saving Tips

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Compositing** is a skill and process that spans the entire spectrum of creative industries. At the high end, compositing boasts its own specialized profession in film and television post production and visual effects. Dedicated software such as NUKE and Shake have taken the craft to powerful levels of its own, leaving behind the relatively basic compositing toolset of Adobe Photoshop.

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This is saved in Photoshop as one layer.