Clipping a subject from its background in Photoshop has to be the most common task a designer will encounter in their every day working life. The pen tool is the go-to tool for cutting most things out, but there’s some cool techniques you can use for hair, fur and other specialty subjects. So let’s crack on and look at the tools we have available to us in Photoshop.
This hindi spoken tutorial will demonstrate you how to cut hairs perfectly in photoshop.We explained how to remove image with lots of flying hairs from the dark background.
- We have used quick selection tool for selecting object
- explained different view modes in Refine edge
- meaning of decontiminate colors
- worked on layer mask to increase hair volume.
- sharpen the edges of image.
- finally we made a sharpen clear cutout of image which can be placed on any background.
Select with the Quick Selection tool
You can use the Quick Selection tool to quickly “paint” a selection using an adjustable round brush tip. As you drag, the selection expands outward and automatically finds and follows defined edges in the image.
Select the Quick Selection tool .
In the options bar, click one of the selection options: New, Add To, or Subtract From.
New is the default option if nothing is selected. After making the initial selection, the option changes automatically to Add To.
To change the brush tip size, click the Brush pop-up menu in the options bar, and type in a pixel size or drag the slider. Use the Size pop‑up menu options to make the brush tip size sensitive to pen pressure or a stylus wheel.
Note: When creating a selection, press the right bracket (]) to increase the Quick Selection tool brush tip size; press the left bracket ([) to decrease the brush tip size.
Choose Quick Selection options.
Sample All Layers
Creates a selection based on all layers instead of just the currently selected layer.
Reduces roughness and blockiness in the selection boundary. Auto-Enhance automatically flows the selection further toward image edges and applies some of the edge refinement you can apply manually in the Refine Edge dialog with the Contrast and Radius options.
Paint inside the part of the image you want to select.
The selection grows as you paint. If updating is slow, continue to drag to allow time to complete work on the selection. As you paint near the edges of a shape, the selection area extends to follow the contours of the shape edge.
Settings in Refine edge-
Marching Ants: In this mode, your selection will be surrounded by marching ants. Keyboard shortcut is M.
Overlay: In this mode, your selection will be overlaid by the layer mask which default color is light red. Shortcut is V.
On Black: One of the most used mode by me. In this mode the area that is not selected is filled with black color. It gives you high contrast so its easy for me to select the image. Keyboard shortcut is B.
On White: Just opposite of “on black” mode. The area which is not selected will be filled by white color. Shortcut is W.
Black & White: In this mode the area that is selected will be filled by white color and that is not selected will be filled by black color. Shortcut is K.
On Layers: In this mode the area which is not selected will becomes transparent. Note that you may see check board pattern. That pattern indicates the transparent layer. Shortcut is L.
Reveal Layer:This mode displays your image without any selection. Shortcut is R.
This is the “magic” in Refine Edge. By magic, I mean both the incredible power to make stunning masks that you could never make by hand, as well as a black box full of confusion.Photoshop will first look for edges that need refinement and, within a certain pixel radius of that edge, use the layer’s pixel data to refine the mask. It will generally try to create a gradient from black to white, and will try to include more of the types of pixels that are dominant in the mask. My general approach is to tweak the radius for the best overall look, try the smart radius, and then brush edges in or out to refine little details if needed.
This setting determines how far from the detected edges Photoshop should refine the mask. Within this zone (which you can view by turning on “show radius”), Refine Edge will try to add and remove areas of the mask automatically. For manual exposure blending of high contrast edges, I tend to keep this value pretty low, around 1-3 pixels, depending mostly on the resolution of the image. For hair selections and other messiness, a larger radius may be needed. Radius will typically do a pretty good job finding and fixing high contrast edges, but will tend to ignore more subtle edges, which can mean that it misses edges in luminosity masks if the mask edge is more gray than white. You can quickly spot missed edges by turning on “show radius”. When radius isn’t finding these edges, the brush tool comes to the rescue…
This option is intended to deal with masks that include both simple and complex edges (such as a skyline that includes both straight-edged buildings and messy tree details). In a nutshell, when smart radius is on, Refine Edge will use a smaller radius in areas with simple/clean edge, and a larger radius in areas with complex/messy edges. In reality, it’s it’s a bit more complicated, and smart radius has no effect if the radius is set to a value less than 10.0. Rather than trying to understand the rocket science behind it, the best way to understand it is to turn “show radius” on and off to see if it improves the result for mixed edges. While smart radius can be helpful, I often find that a better strategy is to use a modest radius and then use the “refine radius” brush described next to effectively increase the radius in the more complex areas.
Refine Radius Tool (the brush)-
This allows you to selectively tell Refine Edge to target areas outside the radius (rather than increasing the radius globally). This will include more edge details (lightens stuff that was missed). This is a critical tool for smoothing edges in luminosity masks if the mask isn’t white enough at the edge. This is also a great option for extraneous details such as a railing or antenna on top of a building or random strands of hair in a portrait. Use a brush width large enough to brush over the target edges, but don’t make it so large that you start adjusting non-target areas. If you make a brush stroke and don’t like the result, you can always press <cmd/ctrl>-Z to undo the last brush stroke. If you want to go back multiple steps, you have to start over.
Erase Refinements tool (the eraser)-
This is the opposite of the brush and will cause Refine Edge to leave these targeted areas alone (ie, this tells Refine Edge to keep the original mask edge in the erased areas). Note that not only will the erase cause Refine Edge to ignore anything you brushed in, it will also cause the tool to ignore anything detected with the radius. If you erase the wrong area, <cmd/ctrl>-Z is your friend, or you might consider cancelling and starting over. While you can click and hold on the brush to switch to the eraser, a much easier option is to always leave the brush on and just hold <alt/option> when you need to use the eraser.
These tools are a little more straight-forward, as they take the mask (as adjusted by edge detection) and just apply simple changes to it. Most of the time, I just use a tiny bit of feathering and leaving the rest of these settings alone.
Blurs (softens) the mask. Unlike the radius tool (which analyzes the edges to try to include just the right detail), feather is a dumb tool that affects everything – so you typically don’t want to use much feathering on photographs (a little goes a long way). I typically use 0-1 pixels when manually blending exposures at a hard edge (such as a bright sunset sky at the edge of a building/trees). This helps produce an anti-aliasing effect to soften the edges.
Positive values expand the mask, and negative values cause it to shrink. This can be helpful in a few scenarios: when masking translucent objects, when trying to remove fringing from colored backgrounds, or when blending two exposures at a high contrast edge. I generally leave this in the 0-10% range for my landscape work. This is especially helpful to overcome issues where highlights spill over by a few pixels in the brighter exposure, causing a mismatch of edges. Note that this tool is mostly moving gray parts of the mask to black or white. So the same amount of shifting can cause a much more dramatic change on a luminosity mask than a hard-edged mask.
Reduces sharp areas of the mask. I never use this and can’t think of a good reason to use this on a photograph (maybe to tweak a “sloppy border” effect?)
Creates a sharper edge to the mask. I never use this with my photographs, but you might find a scenario where you want to tighten up a loose/blurry edged mask.
Layer Mask-Add a layer mask to the selection. One of the most used output by me
New Layer-Creates a new layer which contains only the selection. It deletes the background.
New Layer with Layer Mask-Creates a new layer with layer mask.
New Document-Create a new document/file which contains only the selected image.
New Document with Layer Mask-Creates a new document with layer mask which only contains the selected image.
Turn this on to get rid of color cast when cutting something out from a colored background, such as a green screen behind hair. Adjust the amount as needed. If you use this, you will be forced to output to a new layer or document, as Photoshop is going to change the pixel data, not just the mask. If you use decontaminate, output to “new layer with layer mask” is probably the most useful option (and you can then delete or hide the source layer).
- Select the part of the image using any selection tool.
- Click on refine edge tool from the option bar or press ctrl+alt+R/cmd+opt+R.
- Turn on smart radius and adjust the radius.
- Adjust the smooth, feather, contrast and shift edge for the perfect result.
- Adjust the decontaminate color for halo
- Using refine brush tool remove the tricky areas that are hard to select.
- Select the output method.
- Press OK.
When you add a layer mask, you can hide or show all of the layer, or base the mask on a selection or transparency. Later, you’ll paint on the mask to precisely hide portions of the layer, revealing the layers beneath.
The difference between “Opacity” and layer mask is that while opacity changes the transparency level of a entire layer at once, layer mask allows you to control the transparency of a layer locally. That means you can make one part of a layer more or less transparent than the other.
If you can tell the difference between black and white, it will be easy to understand how layer masks work for you. Layer masks use white, black and all the shades of grey in between to control the transparency of a layer. Default layer mask is filled with white. White in layer mask means 0% transparent, that’s 100% visible and equals 100% opacity. Black do exactly the opposite – makes layer 100% transparent, 0% visible, just like 0% opacity. Between black and white we do have 254 shades of gray that makes a layer more or less transparent. Neutral grey (the color exactly between black and white) means 50% transparent, 50% visible.
Mask commands, shortcuts and tricks:
- Add layer mask – press third button from the left at the bottom of layers palette.
- Delete mask – right click on the mask / “Delete Layer Mask”
- View mask – Alt (Option) + Left click on the mask
- Disable/enable mask – Shift + Left click on the mask
- Fill with white – Ctrl (Control) + Delete
- Fill with black – Alt (Option) + Delete
- Invert mask colors – Ctrl (Control) + I
With the brush tool, you can paint into empty layer, rasterized layer or on layer mask.The only settings you are changing are Brush Size, Hardness, Opacity and Flow. There are three ways of how you can control brush size and hardness. Firs one is to right-click on image and adjust the sliders. Another way is to use keyboard shortcuts – “[” and “]” to change brush size, and “Shift” + “[” and “Shift” + “]” for hardness. And third one, the most efficient, is toHold Alt (Option), right-click on the image and move cursor left-right/up-down.
Let’s get to Opacity and Flow. These two settings are similar, but there is a difference how these two settings works. The difference is that flow is building up, and opacity is not. It means that if you have black brush set to 50% opacity, you can’t paint to more than 50% of black with a single stroke.
Follow the steps-
Step 1: Bring Your Image Into Photoshop
Step 2: Position Your Image
Step 3: Add a New Layer Below Your Image
Create a new layer below your photo.
Step 4: Add a layer mask on Your front Image
1.Make sure that no part of your image is selected. Choose Select – Deselect.
2.In the Layers panel, select the layer or group.
Do one of the following:
a. To create a mask that reveals the entire layer, click the Add Layer Mask button in the Layers panel, or choose Layer – Layer Mask – Reveal All.
b. To create a mask that hides the entire layer, Alt-click (Windows) or Option-click (Mac OS) the Add Layer Mask button, or choose Layer – Layer Mask – Hide All.
Step 5: Blend Your Image
You know that a mask is active, when there is a black outline around the layer mask icon. Now select the Brush tool (press B).
Press D (to return the foreground and background colors to their defaults); then press X to set your foreground color to black. Click and drag on your photo over the areas where you want to block the effect of the adjustment layer. Although it seems as though you’re painting on the photograph, you’re actually painting on the mask. When you release your mouse button, you’ll see black areas appear on the layer mask in the Layers panel. This shows which parts of the image have been painted with black.
Layer masks are also very forgiving. Let’s say you accidentally paint with black where you don’t want to. You could undo (Edit – Undo), but what if you don’t realize your mistake right away? You’ve already done a bunch of other painting, and you don’t want to undo all that work. No problem. Just paint with white. That’s right; switch your Foreground color to white (press X) and paint over those accidental black brush strokes with white. All gone. You can go back and forth from black to white as much as you want. Image quality is not going to suffer because all you’re doing is blocking or showing the effect—on an adjustment layer no less. You’re nowhere near touching your actual image!