2.2 Masking Techniques
In this lesson you'll add new elements to your composition, create new masks, and continue working out compositional details.
1.Introduction1 lesson, 01:25
2.Adding Images, Masking, and Blending3 lessons, 33:49
3.Constructing the Sky and Architecture2 lessons, 26:37
4.Finishing Touches5 lessons, 55:21
5.Conclusion1 lesson, 00:47
2.2 Masking Techniques
Okay, so let's continue with this second lesson. Finding an image that I want to bring in, it's of this waterfall. So I'm gonna quickly select only what I want to bring into our documents, and pasting it into a new layer. And as we did with the previous ones, just finding a right position for it. Maybe, framing our first image, our main programmed image just as it is. But as we cut, again, it's a matter of breaking in the puzzle. Finding compositions, adjusting, and using your eye, To find the portions of the images that are looking good with the rest of the composition. And again, using your imagination, That will lead to the final image. For right now, I'm gonna make a selection just about here of what I want included from the waterfall. And again, we do a mask, an undestructive mass that will help us blend. Now with a soft brush, I'm gonna edit that mask in this manner. Just including a little bit of the water haze that was on the original waterfall image. And then, switching to a harder brush. We go onto the back and mask in a little bit of those bushes and trees back there. Again, all this is not final. It's just for us to give ourselves some help in visualizing how the things will work. Right now, we change, we jump into the cloning brush to edit out this people right here. Quickly eliminating those from the image, because of course we don't want the tourists there. Just cloning out what we don't need, making selections of all the parts of the waterfall. Making sure that the selections we're using match to each of the sections we are working on. Like in this case, we select from the edge of the waterfall back there and clone in that edge into this lower section, so we continue with the shape of the waterfall. It's just a matter, again, of using our eye. And guide us through the whole process. Right now, we zoom out a little bit. We take a look at what we have so far. And get a feel for how is our work looking. So now, I want to introduce another image. I've found an image of a nice lake that I want to add in the fore ground to a main, that the first image we started working with, let me see, You can see how many images I collected for this work, And I think it should be, Somewhere here, there you go. So this is the image of the lake, so I select it all, copy and paste. Let's now scale it down a little bit, find the good position for it. So as you can see, a lot of work was done before I even started Photoshop. Looking for images and using a bit of imagination and visualizing how things work together. So right now I think this is a good position for it. I created a mask, in this case I'm gonna brush in the mask to, again, get a feel for what I want to keep from this lake image. How is it blending, how is it combining with our previous image, finding an edge for it, and deciding on the fly how much do I want to keep from it. And how is it working with the image behind it. Again, in a non-destructive manner. Because we can always set this mask to bring back a little bit more of this image, or in any case eliminate more of it. So right now, let's bring in this other image because the sky, the empty sky we have back there, it's bothering me, because we don't have a clear sense of a full image, so it bothers the eye and it confuses a little bit. So it's easier to make choices if you have the, instead of a empty checker board back there you have some sky. I'm not committing to the sky yet, I just want to feel back there with something that is less distracting than the Photoshop checker board. This section right here, I'm just gonna sample color from the sky and fill it in. So that the purpose of this sky filler back there is complete. So we have eliminated the checkerboard that we had back there. Just sampling a little bit from the haze back there. So everything feels more natural. And it's easier to make choices about the images we are bringing in. So that's it with the softer brush, and just one adjustment layer of levels. So we can blend the whole thing a little bit more to our working images in the foreground. Now let's go back a bit, now that we don't have that distracting checkered board back there. Let's go back to the water fall, because I'm not really convinced of the position and perspective. So I'm making some changes, duplicate that same waterfall images. So now we have a little bit longer waterfall to work with. And from the duplicate I just made, I mask off a little bit and then lets bring this castle image. I want to add a couple of castles, maybe more, that are going to add some architectural elements to our scene. And old architecture like this, usually and mostly provides some kind of, Interesting element in our composition. So as we did with the fist images, we are doing that quick selection of the background back there. So we can have a quick mask, in this case I'm doing it in the image itself Because I don't need to make a mask for it. I'm sure I don't need all that in the background. So invert the selection, copy the content of the castle, and paste it back here in our document. Just scale it down a little bit, and as we have done with the other images, we find a good position for it. In this case I flip it, because we have the light direction coming from our left. And this image of a castle was inverted. Now that we have, The light coming from the correct position, we're gonna, Add a mask to it. And mask off the edges that we don't wanna keep. But as we already have this image right here, it's very easy to find the position, visualize where do we want to place this castle structure in our final image. Maybe a little bit smaller And that will fit very nicely in our rocks back there. Now that we have considered this position, we need to mask out, Areas that could make it blend much better with what we have in the In the foreground. And now, we'll just find the good edge for the rest of our castle image. And at this point, I think all this section to the right, Will not use it in this layer. As it is non-destructive, we can always go back to it. I'm thinking, using the right section of the castle separate it from this one. So right now, let's masking a little bit more, so it sits on the rocks a little bit better. And you can see the magic of the masks, and how easy it is bringing in or out content that fits with the rest of our images. So right now, let's duplicate that layer, delete the mask, and find the position for the right section of our nice castle image. And create a new mask. Quickly masking out the section that we used on the left, and finding a quick edge for this right section of the castle. And of course, masking out everything that was used on this left section of our image. Then of course, we need to move our layer around to find that good spot. That field's sitting on our landscape, and it's not completely off place. So as you can see there are several, Several ways to make something feel better using the masks. We haven't gone into blending most, blending areas or adjust the layers and such. But as you can see, we're always looking for a position and composition of each of our elements. And we always go back and look at our image some doubt, reposition our layers a little bit. Still trying to find a good place for this waterfall, but for now we will finish this lesson here. While I try to look for a good spot in our composition, let's pause this here. And we will be continuing this process in the next lesson, where we will keep adding new elements and keep working in our composition of our scene. So join me back in the next lesson, see you there.