Favorite Selection Techniques in Adobe Photoshop | Tim Grey

[Music] thank you very much oh my goodness what a lovely welcome thank you guys very very much all of you that came out in person and the potentially millions who are watching live online right now it could even be into the billions potentially we're just not sure but welcome so today we're going to talk about selections in Photoshop which is always sort of an interesting topic because in a lot of respects when you're making selections you're accomplishing absolutely nothing because the selection all by itself is just one piece of a puzzle and generally that involves one of two things so you're either creating composite images how many left creating all sorts of fanciful wild incredible composite images or applying a targeted adjustment so an adjustment that affects only a specific area of the image so maybe I want to get more contrast in detail and drama in just the sky and not in the foreground or whatever the case might be the way I think of this is generally I look at a photo I'm happy with it overall except for one little area of the image and there are a variety of ways that we can go about employing what are referred to in Photoshop as layer masks the stencil if you will that identifies where an adjustment will affect the image or where an image will actually be visible in the case of a composite more often than not though I find that I want to use a selection as the basis of my targeted adjustment for example the basis of my layer mask and so today we're going to talk about favorite selection techniques I could go on probably for several days talking about selections in Photoshop but we don't have several days and so we're just going to talk about essentially my favorite techniques kind of the things that I do on a regular basis in the context of selections in Photoshop I should hasten to add that they are my favorite selection technique so you might find that there are other techniques other tools that you like that I don't tend to use all that much or there are some methods that I use that you don't care for and that's all well and good but today I get to talk about my personal favorites so first off some disclaimer well I mentioned the part where they're my favorite techniques they might not necessarily be your favorite techniques but also there's a couple other things number there are situations where selections are just plain difficult and ladies and gentlemen it is tremendously stressful being here in front of a live audience potentially having millions of people watching live online it's very intimidating and so I'm also going to try to work relatively quickly I don't want to take the extra time to do a perfect job with every single selection I'm going to create and of course my adjustments will often be a little bit on the exaggerated side so that it's easier for you to see exactly what's going on when I demonstrate some of these concepts using an adjustment so here for example I have a paraglider flying over the beautiful landscape of the Palouse region of Eastern Washington State ladies and gentlemen today I will not be selecting all of those little strings that are holding that gentleman down below his wing there so bear in mind that when we're applying targeted adjustments when we're creating composite images we need to be a little bit realistic I'll give you another example of that momentarily but just bear in mind I'm giving you a lot of concepts and techniques and tools that you can use I'm not going to take the extra time to make everything perfect I'm going to work kind of quickly so you can understand those basic concepts and speaking of basic concepts what is a selection after all or what is a layer mask or what is an alpha Channel if you've heard one of those what's quick mask mode what other words could we use to describe all of you things a saved selection a selection that you can load they're all the same thing layer mask selection alpha channel quick mask mode all of these are exactly the same thing as far as I'm concerned they're just used in a different context and this can be made a lot easier if you just think of the concept of a stencil and so ladies and gentle I'm going to demonstrate for you my amazing drawing skills once I demonstrate my drawing skills you will quickly realize why I became a photographer instead of a painter or a sketch artist but I just want to illustrate the basic content now don't worry about exactly what I'm doing this is just kind of a theoretical concept but I'm going to choose a brush tool and I'm going to choose the color I'm going to cause myself a tremendous amount of stress trying to paint along Lavoie along the lines this is not something that I've ever been good at and now I have the added stress of all of you and potentially millions at home watching as I make a fool of myself with my really bad drawing ability what do you say it alright so here I have painted white and to make things a little bit easier on myself I'm going to use a handful of keyboard shortcuts and fill the opposite area with black and there you have it a selection is it actually a selection no but this is essentially what Photoshop thinks of when it comes to a selection or a layer mask or quick mask mode or an alpha Channel or a saved selection again many of those are exactly the same thing it is just a way for Photoshop to identify an area and so in the context of a selection that's what a selection looks like in the background to Photoshop we'll see some evidence of that a little bit later but that's a stencil where white is selected and black is not selected and so if you think about a selection as a stencil I think that all of these concepts become a lot easier to understand and hopefully a lot less intimidating anybody ever been intimidated by selection not me I mean me too I mean not me so this is essentially a selection and of course I could create a selection it for real based on that so there is okay a not very accurate selection but I mentioned how bad my drawing skills are plus there's all this added pressure here but a selection is literally just a stencil where Photoshop is identifying a particular area of the image and so we can use a variety of tools to say please select the sky or more to the point my ultimate goal is please apply an adjustment to the sky without affecting the Adobe building or please effect the adobe building without affecting the sky and so you can imagine the world ladies and gentlemen where in fact we can just look into the exterior here of the event space into the BH Photo Store the superstore and see people playing these virtual reality games which is pretty incredible so someday Photoshop will most likely have this technology right where we can literally have on those phony goggles and look a little foolish a little goofy and we'll just be looking around at our photo in three dimensions and we can say Photoshop please darken the sky by one half of the stop and Photoshop will understand what the sky is and how to select it and make it all perfect and darkened by you know half a software what have you and the meantime we have a little bit of manual work that we need to do but that's half the fun isn't it oh yeah that's Fallon salad hangs out there in the Palouse right outside the town of Palouse as it would turn out in eastern Washington State so let's assume that we're going to create a selection and in fact once again don't worry about exactly what I'm doing to create this selection I'm just going to will expand that selection a little bit and expand the range of color values and let's call that good enough so I've made a selection by mysterious methods that we'll take a look at a little bit later today and what do we have here well we have an animated line okay we have a jumble of animated dashes all over the place throughout the image that is a difficult selection to comprehend isn't it this outline by the way is often referred to as the marching ants let's start with a simpler selection there we go a little rectangle or roughly a square very nearly a square and now it becomes a little more clear why the selection outline is often referred to as marching ants because it kind of looks like and so call them advance making their way toward a picnic somewhere and so we have this animated dashed line that identifies what is selected and what is not except it's actually not quite that simple because this animated line it's an outline when it's just a rectangular selection it's so simple it's a rectangle and inside that rectangular shape that's selected outside is not selected what's selected here I don't know but if we use that selection for some purpose I'll just go ahead and create a silly hue/saturation adjustment now it's a purple barn and purple Fallon instead of a red barn and kind of a brownish reddish Fallon well if we take a look at the product of our selection there this happens to be a layer mask but again don't worry about that technicalities of that this is what the selection looks like the Photoshop it's my stencil and so what did I select well I selected the red boards but not the dark shadows in between each board and I partially selected the interior of the barn where there's a little red and you know that what would you call that color well not that color but the original color of the horse is something like reddish-brown level would you call that chestnut maybe that's what I'm going to call it so I have areas that are selected so remember the selection is just a stencil white is selected black is not selected but notice also that I have shades of grey and this creates a challenge for us because if we reload the selection and you compare where the marching ants are to where the selection actually is let's zoom in on the main here and notice where the selection outline the marching ants actually Falls I originally defined this selection as a stencil where white is selected and black is not selected and so obviously the marching ants line will define the transition from black to white things get a lot more messy when we have all these shades of grey I have areas that are partially selected and so it's important to keep in mind that the selection outline does not necessarily precisely define the shape of your selection because areas that are 25% selected will essentially appear not to be selected in areas that are only 75% selected will appear to be completely selected you're only seeing the line that defines greater than versus less than 50% selected so if we're talking about a very clear distinct subject we've selected it might be 100% selected versus 0% selected but more often than not we're probably going to run into situations where we have martial selection and what that really translates into is effect this area completely the selected areas effect this area not at all the areas that are not selected and the areas that are shades of gray in this context partially selected they will get part of the adjustment so we might have an adjustment that darkens the image by one stop some areas get darkened by one stop some areas don't get darkened at all but some of the partially selected areas might get darkened by just half a stop for example all righty we also need to have realistic expectations how many of you are amazingly talented when it comes to creating selections how many think you're halfway decent not too bad but don't want to you know get too excited about it claim to be too good just basically modest right humble well there are some challenges there are situations where we're simply not going to be able to create a perfect selection or where we're able to create a perfect selection but it still doesn't quite give us what we need so let's just assume that somewhere around there is nearly perfect I'm going to create a selection here and again don't worry about the specific technique being used here I'm just kind of cleaning this up just a little bit and we'll pretend like I did an absolutely perfect job so now I've selected the flower I want to select the inverse and let's just go with an extreme version here I'm going to make a black and white interpretation of the photo and if we take a look at this area up in here with this very obvious halo so the flower has been converted well has been left as color rather than black and white and the exterior everything outside the flower has been converted to black and white but we have this little halo well obviously it means I didn't create a perfect selection so I just need to go in there and clean things up manually and so if I use my brush tool I want to essentially reveal this adjustment in the area that was missed and so if I come into this area hmm interesting as I'm revealing more of the pink flower to try and fight that halo now I'm just revealing greenery in the background so let's reverse that and reveal that black and white adjustment oh now I'm getting rid of the green but I'm revealing this bright halo and the issue here of course is that the photo has narrow depth of field and so that flower petal is blurb so if i zoom back out here have a very narrow band of depth of field here so the petal off there in the background is quite blurred and so we have this gradation where does the flower actually end in the background begin kind of like that selection edge Oh somewhere in the middle there except you can't just say right there in the middle now in theory we can get a transition here blend it away in reality that's going to be pretty tricky if I were trying to do this for real because of that tonal variation what I would probably do is to actually prevent this area from being converted to black and white because it's very very bright and then I would probably as a separate step use a little trick to essentially paint color into that area of the photos so you know obviously that's the quick and sloppy version of it there we'll go ahead and put that into a clipping group so that we along on so that we can tidy things up a little bit but point being is that I would have to do a lot more work how many of you want to do as much work as possible with your images versus maybe saying you know what on second thought the color version is just fine we don't need to do this you know cliche selective black-and-white type of thing so there's going to be situations where you're just not going to be happy with your results and therefore you might reevaluate the adjustment that you're trying to apply or the composite you're trying to create or you're going to need to do a lot more work to get a realistic result I'll show you an example of that little bit later on today and I think it's important to keep in mind the the importance of perfection if you will and so just by way of example I eat a part of this depends on the strength of your adjustments often talk about the degree of precision versus subtlety or accuracy versus subtlety in other words if you are applying a very strong not subtle adjustment then your selection or your layer mask needs to be as accurate as possible if you're applying a relatively subtle adjustment then it doesn't need to be quite so accurate the selection that you start with for example and so if I create a little selection oh about like that that was quick and easy little additional areas up there that looks pretty good so now I have the sky selected and of course that sky needs to be darkened up just a little bit and so I will add a curves adjustment in order to darken the sky and just by way of illustration here making the adjustment a little too extreme so that we can appreciate that we're affecting the sky but we are not affecting the bird or the branch etc now one of the biggest problems we can run into as photographers when it comes to self-esteem because we all want healthy self-esteem as a photographer right in order to preserve your self-esteem one thing that I recommend avoiding is zooming in on your photo because then you might see something like this where would that extreme adjustment suddenly not so good now it's very very obvious you might not have noticed it when you resumed out but as soon as you zoom in it's very obvious and of course what that also means is once you print this image nice and big and go to the store and have it matted and framed and hang it on the wall then you're going to be very disappointed with the result because now you can see all these little details very easily if you want to get the sense that the result was way better than it really was then I recommend zooming way out on the image and everything looks great so again that distinction is between subtlety and accuracy now having said all that here's the silly and we all got a good laugh out of that at my expense that the adjustment was not very effective but if I make that a much more subtle adjustment right about in there we could probably get away with right and now if i zoom out and turn off the adjustment versus back on again I'm having an effect so if my adjustment is subtle then I don't need to worry too much about being really precise with my selection it's not that I'm encouraging encouraging you to be lazy about your selections but just a bear in mind how much work you need to put in how much work is worthwhile and as a general rule I recommend not worrying too much you've got about getting a perfect selection and instead focus on the layer mask after you've created a layer mask based on your selection so create a selection that is reasonably accurate and then perform your work so if it's a composite or if it's a targeted adjustment take that next step and then go back and clean up the actual layer mask because then you can see the actual effect within the image itself and I'll show you some examples of that a little bit later on all right so let's get into some actual selection techniques coming to your lazy and proud of it you should always learn complicated things from a lazy person because they're going to find the most efficient quickest easiest way to go about that task and so for me I want to make a selection quickly so I mentioned I don't want to spend a lot of time necessarily perfecting the selection generally I'd rather create my layer mask and then go from there in terms of refining things but I want to create my selections as quickly and effectively as possible and for that I use the quick selection tool what a great name it should have been called a quick and easy selection tool but they didn't ask me so it's just a quick selection tool and it's amazing does it work for every single image under every single circumstance yes no of course not not at all but it usually gives me a pretty good starting point for most of my selections so when in doubt quick selection tool and if we watch I'm gonna go ahead and start let's assume that I want to select this wheat field down here I click and if you look closely you'll see that there's a little bit of a jagged selection outline that's gone beyond my circular brush shape because essentially I'm sampling an area of the photo and saying hey Photoshop find stuff like this it's not going to go too crazy with it but as I start to drag across the wheat notice how that selection is expanding going down for part of this at least all the way to the bottom of the image and as I continue wow look at that I got far enough and it just snapped and covered the whole wheat field plus the barn but maybe I've wanted the barn so now I can just come over the barn and boom I miss one little spot there we go three clicks magic but I can do better watch the sky it helps if you make that noise so now I just swipe across the sky look I'm sweat boom okay I didn't go far enough swipe and I've got a selection don't perfect is it perfect maybe maybe not but it's a really good starting point and I think it's one of the most important things to keep in mind when it comes to selection you don't need that selection to necessarily be perfect right out of the gate start with the selection that's good enough create your layer mask your target adjustment etc and then refine as needed and so that quick selection tool can be an absolute lifesaver so there's a few settings here it's pretty simple you paint across the area of the image that you want to select and it generally does a reasonable job of creating a selection of that area we'll talk about adding and subtracting a little bit later but notice that I can first off sample all layers so right up here on the options bar I have a sample all layers checkbox and what that means is take a look at the entire image as it actually looks not just the layer that I'm currently working on in this case I only have the background image layer but maybe I had an adjustment layer with a layer mask and now I'm creating a selection based on the layer mask not based on the image and so as a general rule I would say that I want that checkbox turned on because I want to create a selection based on how the image actually looks and in fact I could use this to my advantage and even apply an adjustment add an adjustment layer and increase contrast for example so that I can get an even better selection a little bit more quickly and then we have this Auto enhanced checkbox which I always say as a general rule as a general rule you want this turned on if you watch so I'm going to go ahead and deselect and I'll zoom in here and take a look at an area if I use a smaller brush even click and drag and then once I release the mouse so take a look at the edge of the barn that arc of the roofline where it meets the sky and it looks very jagged I'm still holding the mouse button down and so the Auto enhanced capability has not been activated just yet but as soon as I release the mouse you notice how that shape gets cleaned up it goes from being jagged to smooth essentially Photoshop is evaluating the edge that I've sort of defined by virtue of where I painted and it's trying to more accurately identify the actual edge based on contrast both tonal and color and so that generally can be very very helpful another little example there it goes from being a little jagged so that initial preview especially over toward the top-left corner as it were I release the mouse and it kind of snaps closed are not necessarily perfect but a lot better than it was so if you find that this is somehow causing problems you might turn it off but guess what I've never found that Auto enhanced causes problems that fixes problems but if you do see it acting oddly you can certainly turn it off altogether so really it's so simple now one of the interesting things by the way about the quick selection tool is that it automatically switches into add to selection mode I'll talk about that more shortly but what that means is I can click and drag and paint into for example the wheat in the foreground then I can just simply drag again and release the mouse and then I can click and drag again and it just keeps adding and adding and adding whereas for many of the other selection tools the default behavior is to create a new selection so every time I click or drag or whatever the behavior might be for that tool instead of adding to the existing I'm replacing the existing selection so the quick selection tool is a little bit unique in that it quickly switches to the add to selection node we'll talk about those options in a moment how quick and easy is that just like it's fun to write watch is cool you've got a selection on this guy just like that amazing and any more fun than I should be allowed to all right so I talked about that add feature let's just get a better sense of that overall behavior we'll talk about yet another option with a different image but still using the quick selection tool just because it's quick and easy I can click and drag and there's part of the sky selected notice though that I have another option the create new selection option so for some reason I want to create a new selection I could click that and then come back out into the image and drag again to me that not necessarily very efficient with the quick selection tool because it keeps automatically switching into the add to selection mode so if I want to start over then I would just deselect instead of dragging up here choosing a different button clicking and dragging again etc I can just go to the Select menu and choose deselect or one of the many keyboard shortcuts that I think are worth keeping in mind memorising if you will is ctrl V on Windows command B on Macintosh to deselect so I'm just very quickly get rid of a selection and then with most of the selection tools I'm using the quick selection tool at the moment it automatically switches in to add to select mode add to selection look if I were using a different tool though we'll see several other tools here shortly then I would need to manually choose that option I am in the habit of just always choosing the add to selection option even though the quick selection tool does it for me automatically I don't want to think about the variations I just have a consistent workflow and so to add the selection I can hold the shift key on the keyboard whichever tool I might be using again with the quick selection tool is automatically there's no harm in adding with add just hold the shift key to add to selection even though it's already set that to selection it's not going to like double ad or something funny like that so I can just hold the shift key and in this case click and drag to define additional areas because for example talk about contiguous shortly with the magic wand tool but the quick selection tool does not create non contiguous selections all by itself you have to add additional areas so the tunnel through the foreo knee here in Capri I would have to add that little non contiguous area to my selection if hypothetically speaking I were to make a mistake hypothetically speaking while I was making a selection maybe I dragged too far out into the water obviously I could undo take a step backward control Z on windows command Z on Macintosh but maybe I didn't notice that little mistake for a few additional steps and I don't want to lose all my other work then I can just use the subtract from selection option so in this case holding the Alt key on windows option key on Macintosh and painting along that area that I want to remove from the selection essentially the non sky areas a little more cleanup right in there sometimes I find that it's a little easier to just erase too much to subtract too much from the selection and then go back to my add the selection option again holding the shift key to add to selection and the alt or option key to subtract from selection we'll see how we can mix and match some other tools here shortly to help improve your results as well so I find it for example the quick selection tool usually gives me a pretty good initial job but there are other tools that I can use that will take that a little bit further and so for example if we zoom in here I've made a little bit of a mess admittedly maybe I use that subtract option here and use a smaller brush and hold on just a second I know I can get this door I know I can get a perfect oh just does only take about seven or eight minutes so bear with a wait we have a live audience the could number in the millions right now so I probably shouldn't take that extra time instead I'll use a different tool in order to clean up the selection so the quick selection tool is it perfect it is so nearly perfect it's so amazing it makes my job so much easier when I need to create a selection but it's still going to make mistakes and this area down here I've been making a complete mess up but I'm sure we could find some little areas now part of this depends on how nitpicking we need to be but over here if we zoom in really closely we can see there are some pixels that were left out of the selection or that we're in that shouldn't be depending on what we're selecting so in this case we're selecting the sky so there's a rock pixel that should not be selected but it is etc oh there's a big ol chunk of rock pixels that were included in the sky selection and they should not be so I could subtract those areas from my selection now what I find that a lot of photographers do is they sort of fight with their selection tool a little bit and usually if you're fighting with your selection tool it's better have a little quiet time and move on go talk to a different selection - over a little while one that's being you know more friendly and for me that tends to be the lasso tool the lasso tool is the most powerful and flexible selection tool in all of Photoshop and yet I avoid it at all costs because it's not quick it's not automated it's all manual it's you drawing and we already saw how bad I am at drawing and so when it comes to cleaning things up when it comes to creating a selection can you imagine just taking a look at the selection I have right now more or less the sky here imagine trying to trace that worse can you imagine me trying to trace that after seeing my bad drawing skills not at all I don't want to trace the long line that's exactly what the lasso tool is it is a free-form sketch tool essentially for drawing for tracing along the edge whoo that's too much work for me I mentioned I'm lazy right and so if I can go find you know one of these areas actually we can find a nice big area right down here that I made a complete mess up instead of getting in there with the quick selection tool and making the brush so much smaller and trying to improve the result I'm just going to trace over these small little areas so I switch to my lasso tool looks like a little lasso little rope lasso there on the toolbox and here notice that we've moved on to some of the more mainstream selection tools if you will and so up on the options bar we have the default is a new selection and then at subtract and intersect you'll recall with the quick selection tool we only had the new selection add and subtract not intersect I will show you intersect shortly so now I'm able to create variations on a theme here I'm able to fine tune my selection so for example I want to add this area to the selection and we've already learned that holding the shift key on the keyboard gives us access to that add the selection option and so I'll start where I first went astray so we can see though reasonably we'll kind of forget about some of these little individual pixels for the moment just for our purposes but if I go to the point where the selection first strayed away from the rocks that's where I want to get started and I'm going to click and hold the mouse now this is very tedious work it involves a lot of attention to details so we'll ask for silence from the audience I know you're tempted to just start applauding no okay now note by the way that at this point I don't need to keep holding the shift key on the keyboard I already told Photoshop that I want to add the selection so by virtue of holding it when I got started holding the shift key on the keyboard when I got started I don't need to hold the shift key so I can use my other hand to assist my mouse hand for just steady my mouse and if I need to and then once I get back to where the selection reconvenes with the edge of the rock now I can just kind of do a lazy loop back to my original starting point and when I release the mouse that area will be added to the selection hopefully I traced perfectly along every single little pixel etc here's another little area that I want to trace along so I'll go trace along that little area and loop back around if there were areas that were included in the selection that should not have been then I just need to subtract so I would hold the Alt key on windows option key on Macintosh same basic process and just trace along that edge and loop back around perhaps the trickiest part here is keeping track of whether you need to add versus subtract and sometimes I'll get lost wait hold on what am i selecting oh right I'm selecting the sky if their sky that's missing I need to add if there's non sky that's selected I need to subtract it can get to be a little bit confusing but after a while it almost becomes automatic where I keep fingers poised over the shift key and the alter option key so I can add subtract add subtract as needed and just go along and clean up the edge and by the way you'll notice I'm panning around the image with the hand tool and that can be accessed just by pressing and holding the spacebar on the keyboard and then clicking and dragging to go all the way around your selection edge and make sure it's totally perfect so that looks pretty clean at this point I would say I hope we'll call it you know we're friends now so we'll call it absolutely perfect alright so let which I'm going to create a magic wand selection here we haven't talked yet about the magic wand tool but I promise that I will I want to talk about feathering and why I don't do it I never feather selection which is actually a lie I do feather selections but the only time I feather selections is when I'm trying to demonstrate why I never feather selections which gets me very confusing more I talk about it so if I'm applying an adjustment here do I need my selection to be feathered yes do I know precisely how many pixels I need to feather the selection by no and I don't want to guess so what is feathering you'll recall member Fallon the cute little horse and the Red Barn standing in the doorway and I made a selection and I had areas that were partially selected black not selected white selected shades of gray partially selected well you can also think that in certain contexts as feathering as a gradation or transition so do I need the edge of my selection to be feather that's a trick question but I need the final result to be feathered and so let's just not feather we've already seen an example of that with the lilac breasted roller we'll go with a curve adjustment here and make an extreme adjustment and there we see a non feathered edge I would say that the selection edge was reasonably precise it wasn't in the wrong area it's just too abrupt I'm transitioning from 100% selected to 0% selected neighboring pixels selected not selected affected by my adjustment not affected by my adjustment and they're right next to each other and so instead I need to apply a degree of feathering so let's go ahead and reload that selection and get rid of my adjustment I can go to the Select menu and then choose modify followed by feather and then I get to pick a number any number 5 no 8 4 maybe 3 it could be 6 my team be 2 now with experience you'll start to get a better as well I probably just need 2 pixels of feathering here but why guess because let's say you know I owe up maybe 10 I'm very feeling very generous today I'm going to give that 10 pixels of feathering and then I'll add my curves adjustment and whoa let's zoom out a little bit what a lovely halo we have here because my feathering was too much so we undo undo there's my selection again let's go back a step further so that it's not feathered and then select modify feather and probably like maybe half as much would be okay and then we add a curves adjustment and this should only take a vote still too much I don't worry I can do this in less than six minutes the point is obviously I'm not sure exactly how much feathering I need and this is an easy case how many pixels we'll probably one because for all intents and purposes this is a non feathered subject hope if it's in focus and if those stones are nice and solid then I have a very crisp edge to my object and therefore a crisp edge so the selection probably works well but I need a tiny bit of transition so it doesn't look too obvious but I don't know how much and so you might have know noticed once I've applied an adjustment if you've ever worked with a targeted adjustment before so here is my non feathered edge a layer mask based on a non feathered selection I could have feathered the selection to achieve a good final result but it might take a lot of trial and error instead I can just go to the masks tab on the properties panel and there's a feather control right there and I can just increase until I get just the right amount so maybe right in there give it obviously this is a ridiculously strong adjustment it's not what I would normally apply to my sky thank goodness but again probably around about one pixel will do the trick here I met you know half a pixel even when I get back to the adjustment itself and make it a little bit more you know normal maybe something like that if I just want to darken the sky a tiny little bit or add some contrast or whatever it might be whatever my goal is for that specific area of the image I would rather apply that feathering based on an actual view at the actual effect I'm applying so I'll add my adjustment and that's why I never feather the actual selection even though I always want the result of a feathered selection I'm just saving that step of my workflow for a little bit later whether it's a targeted adjustment so an adjustment layer with a layer mask that was based on a selection or a composite image where I'm combining two or more images rather than trying to figure out what might be the right amount of feathering I'd rather just save that step for later when I can see the actual final result all right let's magic wand my little magic here so the quick selection tool was the first tool that we took a look at it's sort of a variation on the magic wand tool which has been around forever in Photoshop the quick selection tool is relatively new all things considered and the magic wand tool is now hiding underneath the quick selection tool so I want to see the tools that are hiding from view all of the buttons which actually happens to be most of the buttons over on the toolbox you'll see a little tiny triangle at the bottom right corner of most of these buttons that means there's a mole or there are more tools hiding from view and I can either right-click or click and hold in order to bring up a flyout menu that gives me the various other options in the case of the quick selection tool the other tool that's hiding there is the magic wand tool in other cases we might have more hiding tools and the magic wand tool is very similar in a lot of respects to the quick selection tool in terms of being a sampling tool in other words I'm essentially saying the Photoshop hey you see this thing over here can you make a selection based on that so if I click on the sky I'm saying make a selection of the sky please or if I click on the cloud I'm saying make a selection of the cloud please or the windmill or you know whatever it might be but of course there are some settings you can see here that I'm not getting a very good selection I can use some settings to determine essentially how much of the image I want selected so if I click on a white area of the image relatively speaking then the slightly darker shade of gray areas of the cloud are not being selected how do I change that what would be the tolerance setting by and large so it's a sampling tool it's essentially the eyedropper tool literally just sampling the pixel value but then it uses that sample to figure out which other pixels have a similar value and so I'm trying to select pixels that match or nearly match the pixel that I clicked on pixel or pixels so first off I have a sampling option here I can choose point sample versus 3 by 3 average or 5 by 5 average all the way up to 101 by 101 average in other words take a block of pixels averaged them all together and then base my evaluation of pixels on that so if we try to be reasonably precise here right in the middle of this bright spot I'm going to click with a point sample and actually let's lower the tolerance just so that we get a better sense of the impact so right about there we've got you kind of memorize that shape if you will and then we go to the hundred and one by Hon oh wow you still memorize the shape of that original selection nobody has a good sense of what that actually looked like now I've switched to 101 by 101 now I should talk faster because we're going to forget the shape of the shape if I don't get to it real quickly so we're going to click and it looks quite a bit different doesn't it it's a much larger selection here well I have that I'll take a few steps backward and there we have it so a much larger selection because I've averaged a series of values together and so I'm going to help eliminate the impact of texture essentially so if it's very textured you might increase this value as a very general rule I don't go above about 5 5 by 5 average it usually does a good job of giving me a good average to work with but that's sort of a secondary effect compared to tolerance so the tolerance determines how merely matching pixel values need to be so if we take this down to zero and I click again in that same little spot so I'm clicking right over here in this bright area of the cloud click and look at my tiny little just edges of these bright areas of the cloud because the tolerance is low so the pixels have to be very very close in value essentially meaning RGB values each individual Channel red green and blue is actually evaluated individually and so it's not quite so simple but the idea is that the pixels have to be very very nearly a match to the pixel that I clicked on versus let's raise that value all the way up to 255 the maximum value and I'm going to try to click in exactly the same spot and now I get a selection of the entire image because I've said my tolerance is so high well I clicked on a white pixel this one over here is black bad that's close enough right so we probably don't want that and it is a general rule I never go beyond approximately a value of about 16 approximately so let's try sixteen oh I thought for sure it was going to work good didn't I I had no idea that it wouldn't work perfectly so this is where photographers have a tendency to get into trouble because they desperately try to achieve a one-click selection so they set this tolerance no that didn't work so deselect let's just taller and stuff we're just a little bit I'm going to click again no that didn't quite do it deselect I'm going to increase that tolerance a little bit and then click again no that didn't do it some of the deselect and an increase I told just a little bit on the click and we're getting really close and I'm almost there and then that might have done it do I have there you have it ladies and gentlemen a perfect selection in just one click except it took me like 500 clicks to get there because I had to adjust my value select deselect adjust my value select these select etc so instead of trying to achieve that one-click selection that actually took you lots and lots of clicks to get to my recommendation is to use a moderately low setting for tolerance some around 16 generally works well for those situations where you're inclined to use the magic wand tool anyway so I'll generally start with 16 and initially said oh gee I thought I was going to get a better selection than that yeah but I can just add the selection so let me come click up mom did that do it oh maybe up in here right there three clicks three clicks and that was fewer clicks than it took to make a one-click selection because I don't have to do all this trial and error I can just use the moderately low setting for tolerance and then use that shift key to click on additional areas and note by the way if I take a couple of steps backward I don't have to actually click in an area that's not selected I'm just sampling additional values so you see this area right in here that is not selected I don't have to hold the shift key and click inside that area to add it to the selection I just have to hold the shift key and click on an area that the reasonable match so right over here outside of that selection it's going to be close enough so you don't have to worry about trying to get exactly right in between a little selection boundary edge you can just simply hold the shift key and click around in a handful of additional areas of the image increasing the number of sample points essentially expanding selection each time then we have the anti alias checkbox up here on the options bar just leave it turned on that's the simple approach because what shape will our selection be cumulus cloud shaped perhaps or you know whatever the shape might actually end up being it's some random shape which means it might be comprised of certain areas that are vertical lines and certain areas that are horizontal lines but mostly it's going to be all these diagonal curvy lines right well let's shape our pixels for our purposes they're square which means they have hard edges so how does a diagonal line that is selecting actual pixels deal with these pixel edges it's going to be a zigzag selection what anti-aliasing does essentially if you think about like a staircase pattern right and so let's say the lower portion is black and the upper portion is white so we have a black to white staircase now we're adding middle gray pixels on top of each step so that we get the appearance of a smoother line so that's what that anti-aliasing does gives a little bit smoother selections and in the context of photographic images I would say I always want that contiguous this is a unique feature of the magic wand tool more importantly we can turn off contiguous we talk about contiguous in the context of a quick selection tool where we don't have a non contiguous option we're always only selecting areas that are contiguous to where I paint it what does that mean well it just means neighboring or bordering on or however you want to define contiguous so if I turn on the contiguous checkbox and let's just go ahead and zoom in on our windmill here I click into this little triangular sort of pie wedge mmm pie of the image and I only get that one little area included in my selection I can hold the shift key and click on that area and shift-click on that and that and that and that and that and that and that who's already tired of watching me shift-click on lots and lots of individual areas of the image versus if I deselect and turn off contiguous and Klee in that same yummy apple pie shaped piece now I get all of those non-contiguous areas included in the selection and I would suggest again that for those situations where you're using the magic wand tool more than likely you want contiguous turned off because it's part of the reason that I went to the magic wand tool instead of the quick selection tool is that I had a bunch of non contiguous areas that I needed to include within my selection and then finally on the options bar up here we have the sample all layers checkbox we talked about that in the context of the quick selection tool again it means create a selection based on the actual appearance of the image including adjustments and everything else so generally speaking I would leave that turned on sometimes you might be working on a composite and you need to create a selection of one portion of one layer of the image but under typical workflows that's going to be the exception rather than the rule so as a general rule sample all layers turned on and again I mentioned before we have the create new selection add the selection subtract from selection and intersect so if I have this always set to create a new selection which most of the tools will preserve that setting it's the quick selection tool that automatically switches to the add the selection option then I can hold the shift key to add to selection the alt or option key to subtract from selection and something else when it comes to intersect which we will I promise talk about later all right so I just want to underscore sort of a workflow thing it's really I think very important consideration and that is this ability to mix and match I talked about it already a little bit in the context of the lasso tool but for example if I go back to my quick selection tool and I'm going to increase my brush size I can use the left and right square bracket keys by the way to adjust that brush size as needed rather than going up to the options bar to adjust it and there we have it a perfect selection how do I know it's perfect because I have not yet zoomed in so I'm living in this wonderful bliss of ignorance and then I zoom in and ups the chimney here is included in the selection of the sky and this other little mini chimney vent is included in that selection there's even a few additional areas here that should not be included in the selection and as I talked about previously in the context of the quick selection tool switching then to the lasso tool that's just one example I'm going to show you a variety of other techniques and we can always use any of my other techniques for creating an initial selection and then come back and clean things up more often than not I would use the lasso tool for that cleanup but as you'll see a little bit later there are a variety of other techniques that I could use as well now certainly I could just add to selection using a real small brush or in the case subtract from selection using a really small brush for that quick selection tool and that might produce a good result but as you can see here not perfect so again switching to the lasso tool and then we can cut out this little portion and this little portion over here just tracing so always keep in mind and this is right now we're talking about selections in Photoshop this could just as easily have been just about anything else bear in mind there are about 47 million ways to do any task you can dream up inside a Photoshop so a lot of this is figuring out what makes the most sense right now you could trace by hand every single selection using only the lasso tool you will spend a lot of time making your selections but it could be done you could use the rectangular marquee tool and make tiny little selections adding each little pixel to your selection until you're finished you're going to spend a long long long frustrating time creating that selection but it could be done so really what it boils down to is figuring out what's the quickest way to get started with the particular selection I need and then what's the quickest or easiest way to fine tune that to perfection as needed keep in mind that some of that fine-tuning will be done a little bit later on the actual layer mask alright so we've run out of selection tools no not really we didn't even talk about the rectangular lasso or started the rectangular marquee tool the elliptical marquee tool the single row marquee tool yes I can click on the image and create a selection of a single row of pixels not usually all that helpful with a photographic image but certainly more helpful with you know graphic design and that sort of stuff the lasso tool we talked about we also have a polygonal lasso tool as well as a magnetic lasso tool the latter being for the selection of metal objects thank you for chuckling so we have some other tools I don't tend to use all that often because they don't tend to give me a tremendous advantage but there are in addition to those other tools a variety of commands or techniques or whatever you want to call these inside a Photoshop one of those being the color range command so I can create a selection based on a range of colors now for those of you that missed the disclaimers at the beginning of the session one of the other disclaimers I should have mentioned is that when I'm going to demonstrate a technique I choose an image that makes it really really easy on me because I like to make things easy on me especially with the pressure of potentially millions of people watching the live stream right now and so this image I'm going to create a color range selection couldn't I just as easily use the quick selection tool to produce the selection very quickly and easily yes of course but I needed something to demonstrate the color range command and I wanted it to be an easy image to work with to minimize the stress on myself because that's how selfish I am so we're going to select me I want to make sure first of all in this case I only have one layer the background image layer but I want to make sure that whatever layer I'm going to create a selection based on is the active layer so maybe I had already for example added a curves adjustment with some sort of effect I would want to go back to my in this case background image layer so just click on the thumbnail for the layer represents what I want to select so here I'm obviously selecting either the rocks or the sky based on color I want to select all the red rock stuff the orange stuff or I want to select all the blue stuff so with the applicable layer active on the layers panel again just clicking the thumbnail if you're not sure to make it active then go to the Select menu and choose the color range command so select color range ooh what a pretty black-and-white image I have here remember all of our selections are just stencils white is selected black is not selected to get started here I like to turn off my preview so the selection preview down here at the bottom of the color range dialog I'll generally set that to none to get started I also like to set my fuzziness way down to zero just to get started and I'll fine-tune that a little bit later then I can click in the image so at the moment you'll see that by default among my three eye droppers here over toward the right hand side I'm working with the first one that is my sample button essentially I'm sampling an individual pixel value so I can just click and you see if I click in the sky in my preview this little thumbnail inside the color range dialog will update based on where I click and because I have my fuzziness set down way low I'm seeing just a tiny little band of area that's selected but one of the things that I can do here is then add or subtract now a color range is literally that it is a range of color values so I can't select the green and the Reds but not the oranges in between it is a contiguous range of colors think of it as a section of the color wheel so it's important to keep that in mind but I can expand that range or contract that range with the plus and minus eyedroppers and one of the things that's unique about the color range command is that I can now click and drag across the image similar to what we can do with the quick selection tool as opposed to the magic wand tool with quick selection we're painting around the image with the magic wand tool we're click click clicking on different areas of the photo so I could actually click and drag across the sky and as I do so you'll see that that selection preview is expanding or if I go back to my Red Rock color there and then choose my plus eyedropper as I drag around never letting go of the mouse then I'm adding to that range of colors all of the various you know kind of reds and yellows essentially and as I keep on painting around that area of the image I'm expanding that range of colors in this case to include all of the yellows and oranges maybe kind of reddish tones but none of the cyan zorb lose at this point then I will typically switch my preview back to greyscale so that I can see a black and white kind of preview of the effect and then I might adjust the fuzziness its fuzziness like feathering yes its fuzziness like tolerance yes it's kind of both all rolled up into one so it's like feathering in that it'll create a transition you'll start to see some blending so notice how we're getting shades of gray here as opposed to that more crisp black versus white so I start to blend into shades of gray so I'm getting a feathering effect but the feathering effects similar colors more than dissimilar non similar colors so I'm expanding that selection I'm getting more fuzzy in the areas of red and yellow and orange but I'm not feathering out into the sky because that doesn't match the color scheme that I'm using as the basis of my selection if I start going way too far with fuzziness then I but notice that I still get a good outline for the rocks in this case I saw that that line being relatively crisp I'm just starting to blend in so it's this really really cool combination of feathering and tolerance all rolled into one and so I'll start with a very low value and then increase as needed and it looks like right about there will give me what appears to be to the unaided eye an absolutely perfect selection that's where applause typically breaks out I mean it's different for every crowd but there you have it a selection so selection based on the color range now as I mentioned in this case I could have very easily used the quick selection tool in order to create a selection of the rocks or the sky but what you will find is that this color range command works in situations that are a lot more tricky that aren't quite as easily to define exactly where an object ends a big field of flowers for example you just want the flower petals but not the greenery or the sky you can more easily define a specific range there with that degree of blending and so it can work out very very nicely I also find it from time to time I want to create a selection more or less based on luminance values in the image this is one of those that so very cool when it works but it only works a fairly small percentage of the time but I want to show you the technique because in those situations where it does work it can be quite helpful so think of situations where you want to apply an adjustment just to the shadow areas maybe brighten up the shadow areas a little bit where you want to tone down the highlights or shift the color in the highlights of the shadows just a little bit so creating a selection based on brightness levels within the image I'll show you a variation on this related to color shortly so I'm going to start off by making a copy of my background image layer this is just a working copy eventually I can just throw this away but I need to make a copy of the background image layer because this is very much a destructive process I'm going to obliterate pixel values in this copy of the image so I need a working copy for purposes of creating my selection and then I'm going to reduce the opacity for this background copy this is literally a copy it's an exact duplicate of the pixels on the layer below I'm going to reduce the opacity on this press the letter v on the keyboard to set the opacity to 50% or I can come up toward the top right of the layers panel and set that value manually if I prefer and you'll see there's absolutely no effect on the image whatsoever because I've made the top layer translucent I can see through it to some extent to the exact same pixels below so no impact at the moment but there will be an impact in just a moment so I go to the image menu and choose adjustments and I'm going to use the threshold command one that many photographers have never heard of many more have never used at least for any useful purpose so image adjustments threshold and what threshold does is it enables me to convert the image to black and white no not the good kind of black and white that's pretty and you might want to print and hang on the wall but literally black and white pixels are either black or white kind of like a stencil kind of like a selection areas are either selected or not selected so I'm taking this image and making it all black and white one or the other two values but I'm able to choose the threshold at which point will we transition from the black pixels for the shadows versus the white pixels for the highlights at the moment I'm switching at middle gray but I could increase that value so only the very very bright areas of the image are white or I can take that down so that only the very very dark areas of the image are black and because I made a background copy layer that I'm working on and I set the opacity to 50% now I'm able to kind of see through this black and white image to the color below so that I can get a reasonably good preview of the actual effect so maybe I want something like this for example because I want to lighten up the dark shadow detail or you know whatever the purpose might be again I'm defining the area that I want to work on based on luminance in the image so whenever I've decided that I've reached a good value for that threshold maybe somewhere right about in there click okay and I have the threshold effect now I need to do something with it well first off I'll go ahead and bring the opacity back up for my background copy layer so there are my darkest pixels are black my other pixels everything brighter than whatever that threshold was will be white in this image I want to make a selection based on this you might be tempted to use the magic wand tool but I'm not because I'm even lazier than that as magical as it is there's a better technique if I simply go to the channels panel and click this little button right here this dashed circle icon down at the bottom of the channels panel that is the load channel as selection button which means load of selection where the areas of the channel that are white will be selected and the black areas will not be selected and now I magically have a selection of in this case the bright areas if I wanted the opposite I can go to the Select menu and choose inverse and now I have a selection of just the darkest shadow area so just for illustrative purposes obviously this is a non feathered selection but I can adjust only those darkest shadow areas of the image maybe we want to get a little more contrast darken up the shadows a little bit or maybe want to open them up and make it look like a beautiful HDR rendition or whatever the case might be obviously I want to feather that selection to some extent as well the point being is that we can use luminosity in the image as the basis of a selection and then we finally get to the intersect option and this one's interesting because there's a method that we can use actually to sort of force the intersect feature if we'd like so I'm going to show you that but then explain why it's really not all that necessary so once again I'm going to create in this case a color range selection so I'll go to the Select menu and choose color range and as we've already seen I can create a selection so if I want to select all the red stuff for example I can use the eyedropper to click in a red area and then I can use the plus eyedropper in order to expand that range to keep clicking on additional areas until I have a selection of all of the red in this case and the photo obviously I can still adjust the fuzziness setting but what if I only really wanted to select the bib up here in the top left corner of the image well there are two things I could do one of which works you know sometimes maybe most of the time and the other which is I think is just easier and it's a handy technique to be aware of I think so first off we have this localized color clusters option so I'll turn on localized color clusters and now the range control is enabled when I was sampling I only sampled in the bid that I actually wanted to select I didn't sample anywhere else in the image so now when I reduce the value for a range it's like shining a spotlight on just the area of the image where I had sampled and if I'm lucky I can get a perfect result by finding just the right value for range in this case it's not quite working perfectly but nearly so and keep in mind as a general rule I don't need a perfect selection I just need a really good starting point that I can then refine as needed so just for sake of illustrating that concept a little bit I'll bring that range value back out just so that we can kind of see what's going on there I click OK and I get a selection well this is kind of sort of like the intersect command and the intersect command is one that gets to be very very confusing to a lot of photographers because intersect in the context of a selection means that we want to create a selection that represents the area where the existing selection overlaps with the new selection that I'm in the process of drawing right now what or like the mathematical and operation so like this area and this area and where they overlap that equals my result or was it or what was the formula again I don't know to me it's a lot simpler though if you think of intersect as select everything or deselect everything I should say deselect everything except this little area so if we go back in fact I'm going to go back to my color range selection here and I'm going to get rid of that localized color clusters option just to kind of exaggerate this effect a little bit more let's add to this range something like that so we can see what a mess you might say the selection is because all I want selected is this bit up here in the top left corner but at the moment I also have this bit and this bit and this div and this given this div in this business to the etc etc etc etc etc and if we look closely we probably find some additional areas of the image I didn't even realize they're selected all I want is this bit right up here so all I need to do is to tell Photoshop to deselect everything except this so if I grab my lasso tool for example because it will be so easy to draw a lazy loop around this bit up at the top left corner if I choose the intersect option what I'm saying is you see this bib keep that but deselect everything else so deselect everything but this this meaning whatever I define right now and of course there's a keyboard shortcut for that so you'll recall by default my selection tools with the exception of quick selection they default to create a new selection so if I were to click right now my selection disappear and is replaced by a brand new selection I can access the add to selection option by holding the shift key I can access the subtract from selection option by holding the Alt key on Windows or the option key on Macintosh and I can access the intersect option by holding both of those keys so shift alt on windows or shift option on Macintosh so just hold both of those modifier keys and I'll click and drag a lazy loop around this red bit up here I don't even have to be very precise thankfully because we witnessed the quality of my drawing skills earlier today I just draw a lazy loop around that first bit up at the top left corner and now I'm telling Photoshop deselect everything except this area so again holding the shift + alt or option Keys when I release the mouse as if by magic only that one bit is selected Hibernian too many photographers are confused by the intersect option and then once they kind of understand the concept they find absolutely no use for it whatsoever but I do believe that if you keep in mind that its deselect everything but this you'll find that actually you can use it a surprising number of in a surprising number of scenarios I use it all the time in terms of cleaning up my selections and then I mentioned this before but I just want to underscore that ability to intersect if I wanted to create a selection of the emergency escape the fire escape ladder here it seems like that would be a little bit more challenging because there's all these thin little lines that the deal with of course once you know about the magic wand tool suddenly it's very simple make sure our contiguous option is turned off the point here is that in many cases it's easier or it seems easier to create the selection of what you don't want rather than what you do want and just bear in mind that we can always invert our selection so there wow did we really just do that in only two clicks sometimes I even amaze myself I mean sometimes even I am amazed by Photoshop so two clicks with the magic wand tool clicking once to sample in the sky holding Shift key and clicking in another area of the and I have the selection except what I really wanted to select was the ladder the metal structure there I can simply invert that selection so I go to the select menu and choose inverse those of you that are collecting keyboard shortcuts and don't want to miss a one that would be ctrl shift I on Windows or command shift I on Macintosh to invert that selection so that for example now at this moment I have just the the metal areas essentially so if I go into curves then we'll see that I'm able to apply very obvious adjustment let's take the black point way up here so there's my obvious adjustment for just the metal areas of the image I create a selection of the sky and then invert it so a very simple easy fast fun step that you can use to help ensure that you're getting the best selection spots only you can work as efficiently as possible so often you'll find you know if we take a look way back do you remember the image of the barn that we were using to demonstrate the quick selection tool it seems like it was several days ago doesn't it feels like just today and when I was dragging across the wheat field it took a lot longer to get my actual selection when I dragged across the sky boom one little swoop and it's done so even if I wanted to select the lower portion of the image the foreground if you will I would still select the sky because it was so much faster and easier to do a quick little swoop and then command ship tire control shift I to invert instead of doing a lot more dragging around in the lower portion of the image all right anybody thirsty no okay you see the reason that's funny is because I'm using an image of a beer class from Lichtenstein so one of the things that I think is working on this isn't something that I use all that often but we can actually transform our selection so we've seen a variety of ways where we can fine tune a selection add or subtract and there's a bunch of other possibilities in Photoshop that we just don't have the time for today I should hasten to add that I do have an entire video course it's all about creating selection it's like three hours of detailed lessons on creating selections you can check that out at grey learning comm but one of the things that I do use on an occasional basis not a huge percentage of the time but occasionally is the ability to transform a selection so this is just one example where you might run into a situation like that so I'm using the elliptical marquee tool which as the name implies allows you to make selections in an elliptical shape even a circular shape if you'd like and so I can click and drag to define that shape if I want it to be circular I can hold the shift key otherwise I can just release the shift key and make my ellipse and in this case it's perfect it's like they had this image in mind over to Adobe when they invented the elliptical marquee tool because I now need to make an elliptical selection a selection of an elliptical object what are the odds well I can hold the spacebar key while I'm in the process of creating my selection to move the selection so I'm still holding the mouse button down I've not let go of the mouse yet I'm in the middle of creating line selection if I press and hold the spacebar then I can move that selection around so with a combination of holding the spacebar to move then releasing the spacebar to adjust the overall dimensions then holding the spacebar to move then we quickly find out that there's clearly something wrong with my elliptical marquee tool or with my logo or with my photographic technique because what's happened here is that I have an ellipse it's not exactly an ellipse it's stretched it's skewed a little bit because the perspective wasn't head-on wasn't directly orthogonal to the logo I'm kind of looking downward at it a little bit and so it's warped you might say so I need to warp you might say the selection or transform or free transform if you're familiar with the free transform command we can stretch and skew like hypothetically speaking if I had a picture of myself that I needed to post on the website I could use the transform command to squeeze it horizontally and instantly drop 20 pounds but here I have a little bit more complicated issue at hand so I'm going to go to select menu and I'm going to choose transform selection so I'm not using the actual transform commands that we use for pixels I'm using a special version of the transform command essentially for the selection itself so select followed by transform selection and now I get a transform box a bounding box on my selection so I can drag the edges to perfectly align with the edges of my logo and I would have to say with all modesty I've done a pretty perfect job you look at that that edge aligns perfectly with the edge of the logo except I don't have to go very far to find that the selection moves away then comes back and then moves low really moves far away over there and then over ly mean it's just all over the place to mess and that's again because I'm creating an elliptical selection with a you know warped elliptical logo warped yes I can go up to the options bar here you see a little window that looks all bent that's the warp control and if I click on that then I am entered into essentially this warp mode of the transform command and you see I've got a bunch of handles in what Naughton is zoom in just a little bit so we can see what's going on there I have all these various anchor points and additional lines and whatnot you can basically just ignore those because they're not going to help you out very much I promise and instead you just click on the edge of the selection and drag it now the problem is that the actual selection won't move until you release the mouse button so what you need to do is get your pointer exactly on the edge of the selection so here at the top left you can see it's I'm pretty far away from that edge of the logo so I'll click and hold my mouse button down right exactly on the edge of the selection and then drag up to exactly on the edge of the logo and release and then I'll come over here and basically repeat that process and I need to click in the only reason I need to click with such precision is that I need to move the edge to exactly where I want it to fall notice how I'm getting all sorts of you know bending to the various anchor points and lines and everything else outward I'm not even going to worry about any of that I'm simply going to continue going around the ellipse and anywhere that the selection doesn't perfectly match I'm going to point right at the selection and then click and drag outward or inward as needed until we've got a little more down here and that looks pretty perfect shall we zoom in no we shall not because there's a chance it might not be perfect yet but it's very nearly and you can see how if I continue fine-tuning and getting things lined up just right I'm warping I'm letting Photoshop essentially do all of the real work of figure out how do we need to warp this Anchor Point and that one I just want to move the selection and so just drag the selection into position when you're all finished when you think you've got everything perfected then you can click the check mark button the commit button up on the options bar or you can press Enter or return on the keyboard or you can double-click inside your bounding box and then you have a selection that by all accounts appears to be perfectly aligned and we're going to take that as a given because I'm afraid to zoom in and find out I might be off by one pixel and you all mock me forever not really all right and they ever do any narrow depth of field photography all the time love it and so this photo of an Allium we've got a very clear distinction in terms of focus and so I can actually create a selection based on what is in focus versus not in focus and so with my image open I'll just go on to the Select menu and then choose focus area I'll move this dialog out of the way so we can see what happens on this little spinning little shape down here at the bottom left that was indicating some work was being done and there you have it that's it that's all it takes so officially the ground now is it always perfect no of course not but what I do find is that more often than not if I disable the auto feature and then adjust my range I usually have a very difficult time doing any better than what Photoshop was able to do so if I reduce the value here now I have just like three little pixels down here that are actually selected it's based primarily on texture so determining which areas have smooth texture versus a little more coarse texture and so I can increase that value but honestly I find that generally speaking with the auto option turned on and then same for noise because noise obviously can be perceived as texture when it's not real texture even smooth areas might have noise so the smooth areas with noise might be perceived as having texture and therefore being in focus when in fact they're out of focus again that auto option generally works pretty well usually I do want to have the soften edge option turned on because by definition I usually don't have a real smooth I don't have a real crisp transition from areas that are InFocus out of focus they sort of blend from one to the next and so I generally want to soften up that edge as part of this process now you might notice that the stem is not included as part of my selection because the stem is very smooth it doesn't have much in the way of texture to it so from photoshop's perspective it looks out of focus because it's so smooth I could if I wanted to notice that I have the quick selection tool essentially built in here I could add the selection and subtract from selection right here inside of my focus area dialog I don't like to do that because I find that usually I just start making a mess of things I'd rather start with that initial selection and then clean things up afterwards so I could certainly add and subtract here but remember our ability to mix and match with all these various selection tools and techniques so I would tend to save that for later which essentially means that by and large for images where this particular technique works well if usually just matter of choosing the command from the menu and clicking okay and you've got yourself a selection of whatever areas were in focus more or less and so now that I have that basic selection created I might for example use my quick selection tool and we use a slightly larger brush here and just add to selection let's see how it does there pretty good we missed a little tiny spot there now it went out a little bit too far so I'll use the alt or option key to subtract from selection and right there as well and in there and that looks to be pretty good amazing alright one of my favorites now and yet I mentioned the beginning I use images that make it a little bit easier for myself so that it's not too challenging to actually create a good result and impress the audience but more importantly make it easy on myself so here I'm going to use a technique that will work remarkably well with this image but I promise you works well in a variety of situations now you remember our luminance technique where we're using that threshold command to define a split in luminance values for the photo so that I can select just the dark areas or just the bright areas now I'm going to do something similar but on a per channel basis which essentially means based on color contrast as opposed to luminance contrast so here I have a field of yellow flowers with a lot of green in it of course and then I have the blue or cyan sky there's pretty good color separation there and I can use that color separation as the basis of a selection channels contain our color separation information red green and blue or red and cyan green and magenta blue and yellow and so if we have any degree of color contrast is a very good chance that this technique will work so the first step is to go to the channels panel rather than the layers panel if you don't have channels panel visible you can just go to the window menu and there you'll find all the various panels that you can choose from including channels and then on the channels panel what we want to do is to click in turn on each of the thumbnails for our individual color channels so I have red green and blue because this is of course an RGB image and so I go to the red Channel and okay we sort of kind of separated the sky from the foreground not exactly the green Channel almost never going to be the best channel for this technique because there's just too much detail on it red usually will work well for portraits blue will work well for outdoor scenes landscape somewhat because we've got sky versus foreground so it's pretty good not perfect but a really good starting point and so I'm going to use this as my starting point I need to tweak it a little bit need to enhance contrast but I don't want to mess with my blue channel directly because that blue channel is determining which areas of the image appear blue versus yellow and so I would alter the color balance essentially by working directly on that blue channel so instead I want to make a copy so I'll drag the blue channel down to the create a new channel button or create a new layer button if it was on the layers panel that blank sheet of paper icon down at the bottom of the layers of the channels panel right here so it's found on both right now we're working on the channels panel that creates a blue copy Channel so now I'm not working on one of my color bearing channels my red green and blue channels I'm actually working on what would be referred to now as an alpha Channel essentially and I want to enhance contrast so I'll go to the image menu and choose adjustments followed by levels and then I'll drag the white point in until the sky turns white and I'll drag the black point in until the foreground turns black and I essentially want as much contrast as possible this is sort of similar to that threshold command at least in terms of the overall result the concept at play here and so I'm going to squeeze those black and white points together what I'm most concerned about is the transition between the area that I want to select perhaps the foreground versus the area that I don't want to select maybe the sky this is as good as I can get it's not perfect we can see all those white specks down below but that doesn't worry me at all I'll go ahead and click OK to apply that change and now how am I going to clean this up well I think it's worth keeping in mind remember a selection is basically a stencil and we might use that selection as the basis of a layer mask an alpha Channel a saved selection we might work in quick mask mode there's all these different options but it all relates to the same concept of stencil and keep in mind at the beginning of this presentation I demonstrated my lackluster drawing skills to draw a stencil of white versus black white for the sky black for the adobe building in that case I have the exact same thing here and so to clean it up I can use that exact same process I'll switch to the brush tool and I'll make sure that my foreground color in this case is set to black I can press D for the default colors and then X to exchange or swap the foreground and background colors and then I'll paint with black very very easy in this case thankfully I chose an image where there weren't too many white specks right up near the horizon where I have to zoom in and be careful pretty straightforward if I had any spots any dark spots up in the sky then I could just paint with white and clean those up but it looks like we've got a nice clean sky there so that worked out very nicely indeed and now I'm ready to just create a selection remember that luminosity trick when we use the threshold command and I loaded a selection very quickly and easily same process right here down at the bottom of the channels panel I can click on that load channel as selection button to load a selection at the moment it's a selection of the sky obviously I could use that inverse command if I want to invert it to be a selection of the foreground rather than the sky and then if I go back and click on my RGB tile up at the top of the channels panel I'm back to my full color image and I have my amazingly accurate selection as part of that process it's hard to believe it's true isn't it something so impressive could work so well and yet you're going to find situations that are going to be tricky that are going to be challenging and complicated and in some of those you number one you're going to find you need to do a lot of work to clean things up potentially but you might also find another technique works nicely as far as being the foundation of some of that work so I'm going to start off with the magic wand tool here and we'll just try to create a selection hopefully a reasonably accurate selection of the sky so again just frankly I could increase the value for threshold but rather than kind of messing around with that I have a tendency to prefer just getting in there and shift-clicking a variety of times holding the shift key and clicking in various areas of the sky to add those areas to my selection but I'm also going to intentionally make a mistake yes of course you thought it would never happen but I'm going to make a mistake right here in the middle we'll just pretend like the magic wand tool didn't do a very good job than I missed it because I want to show you some ways that we can clean up the selection which is hopefully really accurate but notice I have these areas of the magic wand tool trying to sample these areas of the image and we can see where the sky is selected versus the leaves are not selected but also notice these dark areas in between the leaves they're not selected either at least they don't appear to be remember the selection outline is showing us that 50% split between at least versus not 50% selected or greater than or less than 50% selected but one of the tricks that I can use one of the techniques that I can use to help me evaluate and refine my selection is quick mask mode now very often before I would go to quick mask mode I would just go ahead and make my layer mask and go clean things up there but that's the subject of a different presentation that I might give at some point in the future at the B&H events way so instead I'll just use quick mask mode to clean things up now quick mask mode it basically allows me to paint rather than trace which is a subtle distinction but it also provides me with a preview of the actual selection shape so if I press the letter Q as in quick mask mode on the keyboard that will switch me into quick mask mode versus pressing it again takes me back to normal selection mode now if I the button is hidden here from the moment on my display but if I expand to a two-column tool box then you'll see that I have this little layer mask button that is my quick mask mode button so I can toggle as opposed to pressing the letter Q on the keyboard but also I can adjust the options now at the moment the red overlay that is the default it's working wonderfully well because there's no red in this picture I've got lots of yellows and greens and blues and whatnot but nothing red and so this doesn't create a problem for me but what if it was a red rose that was set against a green background now suddenly it's a little more difficult to see where the image is selected versus not if I double click on the quick mask mode button that will bring up my quick mask options dialog and I can choose number one do I want the color to appear in areas that are not selected or that are selected so do I want the selection over the masked areas that's the default or do I want the color to appear on the selected areas to me mask then you know the color overlay that means not selected that's what's stuck in my head so I don't like to change it but if you want to you certainly can and then excuse me the color itself so I want to choose a color that's really easy to see in the context of the image that I'm currently working with so in some cases maybe blue would work well obviously not for this image but in some cases that might be good or some bright shade of green or magenta or red here red was working perfectly fine but the point is that I can pick and choose I can change the color if it's not working for a particular job that I'm working with so I can click OK to just accept those changes and then once again switching back and forth into vs. out of quick mask mode in order to be in quick mask mode versus regular selection mode now remember with for example the lasso tool I'm tracing around to define my selection quick mask mode is you know similar in the sense that I'm still defining a shape but now I really got made my work difficult here but here I'm just going to paint with black or white instead it's sort of like working with the layer mask ultimately so I'm going to use the brush tool and I will paint with black in areas that I want to have the color in in other words not selected or blocked in terms of the final adjustment and I can paint with white in areas that I want to be selected to be affected by my ultimate adjustment or whatever it might be and of course having made things really difficult on myself because I have this big huge area that I chose to deselect so now I have a lot of work to do and I don't like that but I should've thought about that before I made such a big area not included in my selection but you can see here as I'm painting with white I'm essentially revealing the underlying image I'm getting rid of that quick mask overlay and including those areas now in the selection so if I switch back you'll see that I'm expanding my selection now obviously I could use other techniques to you know kind of fine-tune this I could use a really really small brush because we want that branch to be included right so I go back into quick mask mode I can paint with black just on the tiny little branch because I want this to be just the most amazingly perfect selection that anybody has ever seen because y'all are watching right so I can paint with black to deselect to add the overlay or paint with white to erase the overlay which is adding that area to the selection now with this big huge area that I've added for illustrative purposes obviously that's going to be a lot of work where this is generally more useful is for some of the little smaller areas so for example here I have this bright spot that obviously was interpreted as being part of the sky but really it's part of the tree it's maybe a leaf that's just real shiny because the angle of the Sun and so I might want to exclude that little area keeping in mind by the way that I'm using the brush tool and the brush tool includes a hardness setting so I can have variable hardness for different areas of the images I'm painting which means I can have variable feathering so this can be really really helpful especially when I'm planning on a fairly strong adjustment for the image so hopefully this is all looking pretty good you know there's little tidbits here and there maybe I want to add that little leaf back in and that back and etc etc I can give a really super detail-oriented and many photographers find this approach should be a lot easier than tracing because you're just painting over an object going right up to the edge rather than trying to precisely trace even though the ultimate shape is basically the same it can be a little bit easier to just paint especially if you're using it like a stylus like a Wacom tablet as opposed to a mouse because you can be a little bit more precise so by virtue of using that quick mask mode we're actually modifying the underlying selection you can switch back and forth I could use the quick selection tool to clean up a certain area while I'm in selection mode then switch back to quick mask mode and use the paintbrush tool in order to clean up those additional areas etc until it is absolutely perfect and then on the cat shows up and we decided we need to make selection of the macaque which presents all sorts of problems very few of which I'm going to solve today because I just want to show you one additional little tidbit here if we were going to composite this I would need to take into account the translucency of the fur and whatever new background I might be putting this macaque on we'll save that for another presentation I'm going to start off though with my channel based selection technique so I'll go find which channel represents the best starting point for this image in this case I think it's once again the blue channel and so I'll drag that to the create new channel button the blank sheet of paper icon down at the bottom of the channels panel and then I will go to enhance contrast with a levels adjustment and what I want to do is make them a kak white in the background black and what I'll quickly discover is that that's impossible and furthermore if I apply enough of a contrast enhancement that I have reasonable separation between the macaque in the background guess what happens to my fur detail it just starts to get obliterated so if I expand this out you see the fur that's still there and so I want to be really careful about that fur detail in particular and try not to worry too much about everything in between so maybe something like that which seems to be not a very good starting point at all typically of course I'm choosing images that work remarkably well for any given technique this one might be a little bit of a struggle but that's why we're here is to solve that issue so I'm gonna go ahead and apply that change and you'll recall when we had the field of yellow flowers versus blue sky I ended up with some white spots down in the lower area of the image and I could just paint with black to fix that I can do the exact same thing here I'll grab my brush tool make sure I'm painting with black increase my brush size and look at it's just very simply erase all of those areas Oh haircut hmm now what with the added pressure of potentially being on live TV with potentially millions of people watching right this very moment wondering how we're going to get out of this little fix fortunately I studied ahead so we're good we're going to dodge and burn so I've got these areas if I paint with black I obliterate fur detail if I paint with dodging and burning I can still damage fur detail but to a much lesser extent and that dodging and burning if you're familiar with the technique that I like to use for dodging and burning in general it involves the use of the overlay blend mode one of the contrast blend modes where we can paint with a dark value to darken or paint with a light value to lighten without impacting black or white specifically and so now you see I can paint I didn't quite get all that but that's alright and as I come into the fur detail I'm still going to alter the fur detail but I'm not losing all of the detail so I'm kind of giving them a just a little trim not full haircut not a buzz cut and then of course I can come back and paint in some of those additional areas I'm going to zoom out here you've seen the close-up effect right so I'm not going to worry about matching that every single position I'm just going to go zoomed out here so you don't need to see every little detail as I'm cleaning things up and I don't need to clean up the entire image I just need a path around the macaque so I'll have something to work with when it comes to cleaning things up then I'll switch my foreground colour to white so remember I can press the letter D on the keyboard to get the defaults of black and white and then I can press the letter X to exchange to switch back and forth between those and so now I'll press X to switch to white same basic concept except now I'm lightening areas of the image and once again I don't need to fill in the entirety of the interior of my macaque I just need a little bit of a path to work with so I just need a little bit of a kind of racetrack around that edge which all uses the basis of some cleanup work bearing in mind that I'm not really paying any attention to that stump that he's sitting on down at the bottom because that's going to be pretty easy to clean up with other techniques so I don't need to go to all this trouble for that wooden block essentially that I can use other tools a quick selection tool for example to very easily clean up so now it doesn't look like I've made very much progress and yet I've made a tremendous amount of progress and I can very easily clean up the rest of this mask I'm going to switch to a tool that we haven't looked at yet the polygonal lasso tool it's hiding underneath the lasso tool so once again I could right-click or click and hold on the lasso tool button to bring up that flyout and then choose the polygonal lasso tool I'll start with the interior just because conceptually that's a little bit easier I'm just going to click up near the top of his head and then I'll click to add anchor points I'm essentially drawing a polygon I don't even need to be all that careful I'm not going to worry at all new zoom out just a little tiny bit here I'm not going to worry about the stump down below I'll just clean that up with other methods but as much as possible I just want to get the interior of the macaque completely selected so that path that I created for myself just inside the edge of the fur that's what I'm using to create the selection and now I'm going to fill this selected area with white white happens to be my foreground color so yet another keyboard shortcut for those of you that want to collect them all if I hold the Alt key on Windows option key on Macintosh and press the Delete key that will fill with the foreground color so then ctrl D command D to deselect and look at that a perfect or nearly perfect macaque shape and then I need the exterior portion of the image as well same basic process so I'll start above and outside the macaque in this case and I just want to trace around the outer edge so basically as close to the macaque as I can get comfortably where all of the clutter all of the mess is to the outside once I get to the outer edge of the image now I don't want to go around them attack I need to go back around the other way so that I'm selecting all of that exterior portion so I'll just move around the exterior of the image outside of the actual image and come back in on the other side of the macaque and go back to my initial starting point and click so now I have the outer that black area essentially of the image selected another keyboard shortcut I want the background color to be used as fill so now ctrl or command with the back with a delete button won't backspace on windows and there you have it I know the millions watching live at home are applauding in front of their computers right now it's very impressive isn't it and once again we can load that then as a selection so with that load channel as selection button and I can click on the RGB tile and now I have a selection of more or less than the cack now obviously I mentioned that area down below so I might use my quick selection tool for example to add that stump back in but that's pretty easy task and otherwise a pretty good selection that preserves the fur detail for the macaque itself so I might apply a targeted adjustment maybe I wanted to for example darken up the background area a little bit or you know whatever the case might be but point being is that I now have a pretty darn good selection now there is the potential if I were creating a composite I put them a kak onto a different background we're going to have some of that color bleeding through its translucent fur that would be a different issue to contend with but the point being is that we're able to make a pretty darn accurate selection even with all of that fur detail thanks to dodging and burning essentially on a channel on a alpha Channel that's being used as the basis of a selection oh I mean it's no Fallon but it's still cute Horace isn't it so I'm going to show you think of this more as like just potential this is potential the remember I talked about how to create a basic selection and then really work to fine-tune it later when I'm working with my layer mask for targeted adjustment or for my composite image I usually won't spend a huge amount of effort cleaning up a selection because I can't see the actual final result but the exact same technique so I'm going to show you right now can also be used in the context of a layer mask rather than a selection since we're talking about selections today I thought I would just use it demonstrate it in that context so I'm just going to create a selection now ladies and gentlemen you can probably already appreciate a valuable lesson in photography if you do not want to have any difficulty when it comes to creating selections then you should never photograph subjects that have hair feathers or fur if you just take that little piece of advice all by itself it will save you hours of frustration all right so we have what looks to be a pretty good selection here especially if we don't do min and take a look at that the mane that nice I don't know whoever does this horses hair obvious very talented with a curling iron so if I want to apply an adjustment to this image I would need to clean things up a little bit again normally I would save this mask cleanup work for later once I've applied my adjustment but just to illustrate the concept we have the select and mask mode the selected mask mode is available both for a layer mask and for a selection so I'm demonstrating it in the context of a selection but you could also use this directly in the context of your final effect on with a layer mask there's a few things here that are pretty amazing so for sort of I might not have a perfect selection to start with we're not going to worry about that because we all agree we're friends right and so some of this might be less than perfect but you'll get the idea here first off we want some feathering and so I can increase the value of feathering and you see that I get that kind of fuzzy edge that transition which is already helpful I also though you scroll down a little bit can shift that edge so you'll notice we saw a similar example with a flower petal that was fading off into the greenery in the background and here the rump of our horse here it kind of blends from the brown fur into the green background and so it can be obviously a little challenging and we saw an example of that earlier but I can also shift that edge inward or outward and so I don't know how well you can see with zoom can you see it up there you watch it bounce we'll zoom in a little bit further so we zoom out or we ship inward vs. outward and you see that edge bouncing around so I can try to get that edge positioned as perfectly as possible based on the specific transition that I have within the image so feather and shift edge can be incredibly helpful in a large number of situations when it comes to that selection or the layer mask contrast you don't need you know why you don't need it because you never feathered the selection in the first place you saved it for later just like I do and so you don't need contrast contrast is the opposite of feathering so if later you decide you've applied too much feathering just increase the value for contrast and it will tighten up that transition but if you save your feathering for later in your workflow then you want to worry about it at all then we get to the good stuff feeling so nervous right now so we can increase our value for radius this is our edge detection section I can also use a smart radius the idea there is that I can increase the value for radius the size if you will of the area that is being evaluated in terms of which should be selected versus not selected and smart radius means if it's fuzzy make it fuzzy if it's crisp make it crisp interest intelligent it's pretty helpful you can see it doesn't seem to have made much of an impact here on my actual fur detail but then we have this little hands and brush tool over here so that allows us to actually refine the edge and this is the real magic if I paint into these areas of fur within the image oh my goodness so granted we're using a red overlay that quick mask overlay but if you'll notice what's happening here is that some of the main the hair detailing it wasn't fur or hair when it's a horse I don't know but whatever that is it's kind of shining through a little better and these other areas of the image are being masked out so I can even come into here and notice that it's sampling there's a little bits of sky that are peeking through or the ground the hills in the background that are peeking through and it's giving me translucency there I can tell it to kind of re-evaluate this area and really what's happening is that as I'm painting you can see if I adjust that radius we get a little bit of refinement in there but as I'm painting the image itself is being evaluated in a manner of speaking and saying well which is the mane and which is the background based on my initial selection and so by painting into these areas I'm essentially telling Photoshop that I want it to refine that area of the image now I can also simply paint so I can add or subtract so if I decide look I know that this is a little bit of sky showing through but the sky color and the main color they're practically the same so let's just not worry about it I can just subtract that area so I'm one add it in this case because the selection is inverted but I can add or subtract those areas to the image to the selection so in this case adding that area to the original selection as opposed to the mask areas of the image and so by using a combination of those techniques I can either essentially manually paint like quick mask mode or let Photoshop do the work of all of that sort of like the quick selection tool but with a little bit more intelligence behind it and it can evaluate all of these areas of the fur detail to help extract as much of that as possible and so you know I can paint into some of this additional fur and try and pull some of that out and it really I mean it's just remarkable so we can add or subtract depending on whether we're building up areas of the selection versus breaking them down and some of this keep in mind it's a little difficult to tell so I'm using this overlay option in terms of seeing that quick mask mode preview of selected versus not selected if I switch to on layers I think you get a little bit better sense of all of that kind of wispy Mane detail so I've got translucent areas of that mane so that if I'm applying an adjustment it's only affecting the mane based on where the mane is most dense and if I'm putting this horse onto a completely different background it's allowing part of that background to shine through the mane because the mane don't forget it's going to be translucent so I'm seeing some of that new color coming through it's absolutely amazing when I click OK I end up with a course that marching ants display keeping in mind that that marching ants display is just showing me the division between greater than or less than 50% selected so it can be a little bit difficult to evaluate that but going back into quick mask mode I get a pretty good sense of the final effect quite impressive again that is something that I would usually save for working on my actual layer mask as opposed to working on the initial selection oh my god no about you ladies and gentlemen but I am exhausted and that was a lot of fun so how many of you thought that was incredibly helpful how many of you feel like your brain is fried everybody so that is really just selections and I sort of joked at the beginning about how with selections were not really creating anything we're not accomplishing anything it's just one piece of the puzzle because we're now using that selection and to actually do something we need to either create a composite so a layered image with a layer mask or a targeted adjustment by virtue of an adjustment layer based on that selection the layer mask will come along for the ride automatically so selections you know they sort of get ignored a little bit by virtue of they're not really accomplishing anything all by themselves and I've just scratched the surface there's so much more that you can do with selections or additional selection tools that we didn't talk about other techniques I did talk about all the favorite stuff all the favorite things that I typically do with selections but there's a lot more there as well and then even more so when it comes to the targeted adjustments and composite imaging what you're doing with those select selections in terms of creating and then refining a layer mask I often like to say in Photoshop you can do anything that you can imagine it's just a question of figuring out how to actually accomplish that thank you guys very very much and I'll look forward to seeing you next time at the vnh photo event

Channel: B&H Photo Video

Views: 57,638

Keywords: b and h, b&h, bh, photo, B&H Photo, Video, BH Photo, video, bhvideos, bh photo, favorite, selection, in, photoshop, with, tim, grey, tim grey, lightroom, adobe photoshop lightroom, adobe, greylearning.com

Id: X_hn4AYLfKw

Length: 112min 56sec (6776 seconds)

Published: Fri Jul 14 2017