![]() ![]() To enable or disable Quick Mask Mode, press Q. These masks can be refined with the Brush Tool and operate similarly to a regular layer mask. Quick Masks are used to create or refine selections in Photoshop by turning parts of your image a semi-transparent red to indicate the selected areas. I’ll also showcase how to efficiently use a Quick Mask by isolating a subject and removing the background of an image. I’ll cover the two different ways to work within this mode and explain the best settings to stick with. Not only will we cover how to select something quickly using a Quick Mask, but I’ll also cover the quickest ways to access Quick Mask Mode. The best part about Quick Mask Mode is that it’s quick to use and quick to learn how to use it. Selecting a subject in your image is sometimes time-consuming, but using a Quick Mask to select or refine your selection will save at least half the time it would typically take. By cranking the brights up and the Shadows down we can greatly enhance the Contrast of this Alpha Channel, which means we’re one step closer toward replacing our sky.Making selections in Photoshop is common practice, and a great method to create and refine selections is by using the Quick Mask Mode. We can then hit Ctrl / Cmd + m to bring up a Curves Adjustment. This will create an Alpha Channel titled Blue copy. ![]() But rather than adjust the blue channel directly (which would affect the overall Color Balance of the image), we first need to make a copy of the blue channel by dragging it down to the Create New Channel button at the bottom of the palette. Well it turns out that you can apply curves Adjustments to channels, which means we can make the blue channel even more contrasty. What we need is a way to further refine the contrast in this channel to make a really good selection. But the mountains are fairly Light gray, which means that they’ll be somewhat selected, and that is no bueno, because that means when we make our mask for the clouds, they’re going to bleed over into the mountains. So if I load this blue channel as is as a selection, the sky is going to be mostly selected, and the trees aren’t going to be selected much at all, which is pretty much what we want. When you turn a channel into a selection (via the Load Channel as Selection button at the bottom of the Channels Palette) it works like this: everything that’s pure white becomes 100% selected, everything that’s pure black is 0% selected, and all the gray stuff in between is proportionately selected based on how bright it is. It’s important to note that in both photos the light is coming from the same direction (behind the camera, and fairly low down), and that the focal length of each photo is approximately the same. So let’s add some dramatic clouds which I photographed in Death Valley. Ritter and Banner Peak reflected in the still waters of Garnet Lake, and while the Landscape has a certain majesty to it, the sky could benefit from a little more oomph. ![]() In this tutorial we’re going to use this technique, as well as a few other nifty ones, to combine two photos to create the image at right.įor my base image I’m using a photo I took in the incomparably beautiful Ansel Adams Wilderness in California. And this one little change lets you dramatically and easily clean up your masks, even in areas with complex edges, like Hair or tree branches. It’s the Brush Tool, with one small quirk: it’s the brush Tool with the blend mode set to Overlay. Photoshop has an impressive arsenal of Tools when it comes to creating and refining masks.īut there’s one little Tool that’s so powerful, so almost-magical in its application that you’ll wonder why you never knew about it before. ![]()
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