![]() ![]() Masking in photography can be a lengthy task when editing photos. Topaz Labs has created Mask AI to help make the process of masking faster. The Topaz Mask AI review will guide you through a quick overview of the application. Here is the final result in Photoshop with a background. I copied the background layer and then moved the Mask made using Topaz by using the level adjusted image onto this layer. On the top right corner of the screen, there are three options to view either one image or side by side or four images. Screenshot 4 displays the Trimap of the Mask the original image, and the extracted Keep image. You are able to work in each of these views, and even change between them.īlur the background or pick a new photo or a solid color to give an entirely new appearance. You can also change the background and foreground or even your composite image to create a stunning blended image. In other words, you could show it with the mask. Screenshot 26 displays the picture in Photoshop in contrast to the background. It’s possible the area on the right hand is not being captured perfectly. Continue working on the areas where you are sampling color in the process before each stroke. You can view some of the results close up and in four different perspectives below. The sparrow’s tail is gone as well as the branch that this bird perched still in good condition. In spite of the intricate nature of the picture, this is an amazing job. After I’ve finished using the blue one, I’ll apply the red and green brushes to color the areas I’d like to preserve and then remove. When you click the Color Range option there are two sliders that can be adjusted, the brush size and the color range. The color range defines the range of shades that are available from the color you choose. Utilize the green-eyedropper to choose the color you want to keep, and the red-eyedropper to choose one color to get rid of. ![]() Once you’ve selected the color, you can apply a brush to the area and watch it change as it expands or is removed, depending on the method you’re working on. It is so nice that you are a member of our community.“Compute mask” determines the initial extraction, and allows you to choose various methods to look at the outcomes. Thanks for thinking of us and sharing all of this with us. In any event, some of the techniques mentioned under Finishing Touches should always be considered.Įxcellent detailed directions, Peter. Be aware that not many of the published images that you see daily came straight out of a camera. But every photographer should be aware of what is possible, and should at least be doing some post-processing to improve the attractiveness of their own images. I appreciate that not everyone will want to make images as radical as these Surreal I love your message and think that it applies to the current practice in processing our images these days. I also want to say thank you for the comment you made at the beginning of your tutorial. I see a book or articles in a magazine that has your name under AUTHOR. They are all breathtaking and one would love to learn how to do that. Let’s say you only used TOPAZ, LUMINAR or AFFINITY, maybe those manufacturers would be interested in you explaining your work especially after they lay eyes on your landscape creations. Once you decide to upgrade to more current software, you probably could publish your work and your steps in your creations. Thank you so much for sharing this with us. This was a labor of love with grand results. All of your changes were created by hand, not using any plug-ins other than Topaz Remask to assist in capturing your columns and Topaz Adjust to make the columns pop. Your knowledge of the software and your ability to use all of its tools reminds me of the cliché, “it’s not the camera, it’s the photographer…”. Peter, I am amazed by the detailed description you provided in this 14-page tutorial. ![]()
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