The One Simple Trick I Use To Improve All Of My Images With Photoshop

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Curves offers more precise tonal control than any other tool. So when I need precision dodging and burning (about 80% of the time) I use Curves, which means I use Photoshop (PS).

I look forward to the day we can make local adjustments with Curves in Lightroom and Camera Raw. But currently, Lightroom (LR) and Camera Raw (ACR) don’t have this feature, yet. But can’t you do something similar in Lightroom (LR) or Adobe Camera Raw’s (ACR) using the six Basics sliders (Exposure, Contrast, Highlights, Shadows, Whites, Blacks), in combination with the Adjustment Brush, Graduated Filter, or Radial Filter, even in combination with Color, Luminance, or Depth Range Masks? If close is good enough, yes. If you want to make your images really shine, no.

 

Is it hard to dodge and burn with Curves in Photoshop? No. It’s easy.


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The Art Of Selections & Masking

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Mastering selections and masking will help you take your images to the next level.

 

1. Local Adjustments In Lightroom and Camera Raw | Coming Soon

2. When To Use Lightroom’s Local Adjustment Tools | Coming Soon

3. Why Photoshop’s Local Adjustment Capabilities Are Superior To Lightroom’s | Coming Soon

4. Photoshop’s Marquee Tools 
Quick rectangular and elliptical selections.

5. Photoshop’s Lasso Selection Tools 
Go to drawing tools for irregular selections.

6. Photoshop’s Magic Wand & Quick Selection Tools 
Let Photoshop do the work for you.

7. Two Keys To Combine All Of Photoshop’s Tools 
Easily add or subtract from selections.

8. Viewing Masks 
You can see a mask in a number of ways.

9. Mask Key Commands
Key commands make masking and selections faster and easier.

10. Painting The Simplest & Most Useful Masks In Photoshop 

11. Photoshop’s Quick Mask Combines All Selection And Brush Tools

12. Eight Useful Tips For Brushing Masks In Photoshop 

13. How To Make Masking Easier With Photoshop 

14. Gradient Masks

15. Fine Tuning Gradients 
Fine tune your gradients with masking techniques.

16. Masking Hue 

17. Masking Saturation 

18. Masking Luminosity 

19. Contour Masks 

21. Edge Masks

22  Combining Masks | Coming Soon

23  Frame (11/10) | .99
Make your images stronger by locally adjusting the frame.

24  Points (11/10) | .99
Make your images stronger by locally adjusting points.

25  Lines (11/10) | .99
Make your images stronger by locally adjusting lines.

26  Planes (11/10) | .99
Make your images stronger by locally adjusting planes.

 

27. Video – Photoshop Masking Key Commands

28. Video – Photoshop Making 2 Masks For 1 Layer

29. Video – Photoshop Feathering Selections  & Masks

30. Video – Photoshop Combining Gradient Masks 

 

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Photoshop’s Need To Know Lasso Selection Tools

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The Lasso tool is best for defining highly irregular selections manually.

Masking_PolygonalLasso

The Polygonal Lasso tool is best for defining rectilinear shapes.

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The Magnetic Lasso tool uses pattern recognition to define existing contours.

Photoshop’s Lassos (Lasso, Polygonal Lasso, and Magnetic Lasso) are go to tools for drawing irregular selections.
Which Lasso tool you choose depends on the job you need to get done.
The Lasso tool is best for defining highly irregular selections manually.
Just click, hold and drag to define a selection. Draw selections in closed loops from beginning to end; if you let go of a selection half way through a shape you’re drawing a straight line will automatically be drawn from where you let go to where you started; on rare occasions this can be useful.
The Polygonal Lasso tool is best for defining rectilinear shapes.
The Polygonal lasso tool differs in that it only draws straight lines. Click, don’t hold, drag to the point you’d like to draw a straight line to and click again, then repeat until you define a closed shape. While drawing a selection, you can alternate between the Lasso and Polygonal Lasso tools by holding the Option key.
The Magnetic Lasso tool is best for taking advantage of pattern recognition to define existing contours.
The Magnetic Lasso tool is different; it uses edge detection to draw. You simply guide it roughly along a contour you’d like to define and if the contour has enough contrast the tool will find it. (Using an adjustment layer, you can temporarily boost the image’s contrast, while making a selection to help the Magnetic Lasso tool find edges more easily … and then delete the adjustment layer after the selection is complete.) If you draw too quickly with the Magnetic Lasso tool it becomes less accurate. If you find you’d like to refine the line it defines you can press the Delete key to eliminate the anchor points it makes along the way, one at a time, in the order they were made.
Remember, if you plan to feather a selection substantially you don’t need to be precise; close enough will do, so don’t waste your time making perfect selections for very general applications.
Read more about masking here.
View more in my DVD Drawing With Light.
Learn more in my digital photography and digital printing workshops.

Two Powerful Keys That Will Help You Combine Photoshop’s Selection Tools

Masking_Selection
A simple Rectangular Marquee selection.
Masking_Add
A second selection is added using the Shift key.
Masking_Subtract
A second selection is subtracted using the Option key.
Masking_Intersection
The intersection of two selections is created using both Option and Shift keys.
There are so many times when you make a selection in Photoshop and it’s not quite right. But if the selection just needs a little more here and/or a little less there, there’s an easy fix.
You can press the Shift key to add or the Option key to subtract a new selection to any existing selection, no matter how the existing selection was made or what tool you’re making the new selection with (Lasso, Marquee, Magic Wand, Quick Selection). Hold both the Shift and Option keys at the same time and you’ll get the intersection of the new and old selections. You can do this as many times as you like.
It’s that simple.
Sure, you can use the Add to selection, Subtract from selection, or Intersect with selection options in the top toolbar, but these key commands are easier.
Read more about masking here.
View more in my DVD Drawing With Light.
Learn more in my digital photography and digital printing workshops.

Photoshop’s Marquee Tools Make Surprisingly Useful Geometric Selections

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Photoshop offers two Marquee tools (Rectangular or Elliptical) for making simple geometric selections. They’re easy to use.
Click hold and drag to define a selection.
Hold the Option key to draw from the center of the shape.
Hold the Shift key to constrain the shape to a perfect square or circle.
You might question how often you’ll use simple geometric selections, particularly in complex photographs, but you’ll be surprised. They’re excellent for quickly selecting large areas of a canvas, which can be further refined with any of the other selection tools. They’re extremely useful if you feather them heavily; targeting the center of an area then fading off gradually to create vignetting effects, either for the entire image frame or a small portion within it.
Read more about masking here.
View more in my DVD Drawing With Light.
Learn more in my digital photography and digital printing workshops.

Easily Refine Any Photoshop Mask With A Brush

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You can refine any mask in Photoshop with a brush. How? Choose any Brush tool and paint on it. The Brush, Healing Brush, Clone Stamp, Eraser, Gradient, Blur, Smudge, Dodge and Burn tools all have their uses. Whether simple or complex, layer masks are just black and white images; you can do anything to a mask that you can do to a black and white image.
It’s important to remember this because you might not realized just how much you can refine a selection or mask. Sometimes tools like Quick Selection do an amazingly fast job of selecting specific image areas, but their results can be improved further with a brush. Many times the sophisticated selections made with tools like Select By Color Range (which will allow you to quickly select Shadows, Highlights, or single colors like Red, etc) end up selecting too many areas and you may want to remove some of those areas from the selected regions in a mask. Painting over those areas with a black brush is one way to do this. (By contrast painting over areas with white will remove any gray values and let the effect of a layer pass through unimpeded.) While there are many brushes you can refine them with, more often than not you’ll find yourself using a simple soft-edged brush to paint black and/or white at varying opacities. It’s a simple but powerful technique, making it extraordinarily useful.
There are many times you’ll want to manually refine a mask with a brush.
Here are a few examples.
Mask_Contour_After

Mask_Contour
The edge of a contour made with the Quick Selection tool can be refined.

Mask_Gradient_Before
Mask_GradientNoMountain

A gradient can be removed from an area.

Here a gradient only affects the sky but not the mountain.

Mask_Highlights_Before

Mask_HighlightsNoSky

Specific areas of a luminance mask can be removed.

Only the highlights of the lower portion of this image are affected.


Mask_Red_After

Mask_Red_Before

Specific areas of a selection made with Select By Color range can be removed.

One orange area is removed from the selection of other orange areas.

Read more about masking here.
View more in my DVD Drawing With Light.
Learn more in my digital photography and digital printing workshops.

How To Choose Which Photoshop Mask Color To Start With

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Image before selective adjustment.

20170206_ANT_yalourislands _190_425

Image after selective adjustment (dodging).

Mask

It takes fewer white strokes than black strokes to make this mask.

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So, instead of starting with a white mask, start with a black mask.

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The layer stack.

When you’re making masks in Photoshop, you can get the job done more quickly and easily by starting with the right color mask. When you make a mask, you can start with one of two colors – white or black. What’s the difference? A white mask shows everything on a layer as if it were at 100% opacity. A black mask hides everything on a layer as if it were at 0% opacity.
So use this simple strategy when you’re brushing in image adjustments with masks.
If you want to affect most of the image, start with a white mask and add a few black brush strokes to reduce the effect in smaller areas.
If you want to affect just a few areas of an image, start with a black mask and add a few white brush strokes to show the effect in only the areas you paint on.
For even more control, you can vary the opacity of the brush strokes you make to reveal or reduce effects partially. (Keep the Opacity of the layer being masked at 100% and then you can make the opacity of different areas vary based on the brush strokes you make.)
How do you make choose the color of the mask when you make it?
You can get a white mask when you target a layer and go to the menu Layer > Layer Mask > Reveal All. Or, simply click the mask icon at the bottom of the layers palette.
Alternately, you can get a black mask when you target a layer and go to the menu Layer > Layer Mask > Hide All. Or, hold the option/alt key before you click the mask icon at the bottom of the layers palette.
A mask is automatically created when you make an adjustment layer. By default an adjustment layer mask is white. If you want to start with at black mask instead, hold the option/alt key before you make an adjustment layer.
To make masking even more efficient, you can start with a simple selection (made with any selection tool, including the Lasso, Marquee, Magic Wand, or Quick Selection tools) and then, while the selection is still active, make a mask. If you do this, the selected areas will appear in white and everything else will be blacked out on the mask. You can then brush the mask to refine it further.
But wait, there’s more! Remember, you can always invert a mask (making black white and vice versa) by going to the menu Image > Adjustments > Invert or pressing the keys Command I. So if you forget to start with the right color mask, just invert it.
These simple techniques will save you a great deal of time.
Read more about masking here.
View more in my DVD Drawing With Light.
Learn more in my digital photography and digital printing workshops.