A week or two ago I had the pleasure of putting on a bird photography workshop for Olympus check out get Olympus comm to let people try out their 104 wonderful OMD cameras we brought in some captive Raptors and we’re gonna shoot in the park but if you’ve been following is in Austin you know that it’s been raining so.

One thing we shot in the studio and we had a backdrop and we kind of changed it up a little bit but I.

Like this shot but I wanted it to be a difficult background so I want to show you a quick how and capture one you can go about rearranging the background naively you could just shift the white balance of the entire photo and because the background is kind of a gray color we can make it blue we can make it way more orange but of course the bird.

Changes with it so that really isn’t what we want to accomplish luckily everyone has local adjustments and they work really really well for stuff like this especially.

In catch 111 out we have our fine mask available so I’m going to use a brush and I’m gonna use it with auto masking turn-on and kind of color over the the bird and the masking is not going to be great you’re gonna see it’s gonna go outside the bird a lot we’re gonna go a lot of artifacts it’s one of the side drawbacks of auto masking and capture one my computer is being laggy because while I record it’s it’s working harder than it wants to and.

The auto masking takes a little bit of processing time so I’m just kind of roughing this mask in and I’m asking the bird you could match.

The background and change this color or you could mask the bird which is what I chose to do and change the entire white balance of the photo and then fix the bird D AIDS layer and it really doesn’t matter which one you do they both will work so for a lot of shapes I find it’s easier just to over draw them and then come back.

And fix them with the erase brush for whatever reason convex shapes that has curves that go to the outside like the top of the the this red-tailed Hawks head are easier for me to trace from.

The outside and capture ones Auto edging works better and sometimes this way then it.

Does the other way it doesn’t work great either way to be honest which is why I’m so excited about having we’re fine available so I’m just going to go around and kind of roughly clean.

This up and you can see there’s some artifacts on the bill it looks like I’m not do anything but that’s mostly because my.

Computer is lagging due to the recording going on so when I pause here for a second it’ll clean that edge up so this mask is not perfect by any means you can see there are a lots and lots.

Of places where I bleed on with the background or where the background bleeds in but we’re gonna use refine mask we’ll let that clean up the mask for us now this radius tells capsule on how wide an.

Area to search for an edge and then try to make that edge sort of a true smooth transition or a clean transition smooth is not the right word and the size of the radius.

You use is is just a matter of experimentation and you’ll see is it previews this there’s still a little bit of a defect down there on the bird shoulder when it’s back sort of right it’s it’s beak but it cleaned up a lot of it so now we’re gonna iterate we’re gonna go back and we’re gonna just kind of clean up a few spots carefully and also try to obsess about getting the mask perfect what I care about is that the.
Final result looks good and because I can see the results.

Along I can decide what I’m when I’m happy and stop messing with it because my goal is to take photos not spend all my time in front of a computer you see here underneath this because an area I’d had trouble is I’m gonna make myself a little small brush and I could zoom way in but I’m not being super careful there this case autumn asked at a reasonable job and we’re gonna do another round of we’re finding.

That mask now that we’ve got it much closer you because the the mask is much closer to correct I feel like I can get away with a little bit lower.

Search size and you can see like all the feathers behind the bird’s head on the left side you know it’s masking those.

Feathers pretty precisely so again we’re gonna adjust the background I I could invert this mask now or I could have created it on the background but I’m doing this backwards most people consider there’s no reason to do it that way or not do it that way it doesn’t actually matter you can see that the mask layer white.

Balance is set to OFF which means it’s not adjusting the difference in white balance between that layer in the background at all so if I now adjust the white balance of the bird only how.

To make the bird look a different color and you know at first pass this mask looks pretty good so we can go back and forth now because I chose to mask the bird make the bird the layer adjustment layer it’s kind of a push and pull thing so in reality it might be better.

To do it the other way around but it’s still not hard I just tweaked the background to make it look the way I want and then adjust the bird layer to get the results I want so I’m not sure there’s.

An official term for this I call it differential editing where I edit two parts of the picture.

In a very different way and it relies on having a very clean mask because everyone now has refine that allows us to actually do that whereas.

Before I would have had to drop out to something like affinity and create masks there and then I’m working with either I’m working from JPEGs which I can’t really adjust as much or I’m adjusting I’m kidding very into the photo and of capture one and adjusting them for each area of the photo without masking just doing two different versions one for the bird one for the.
Background and then putting.

Those two together in affinity and that’s.

Not hard but it’s way more time-consuming than what I’m doing right here so let’s look at where we’re at someone created a new variant of this which means no adjustments hopefully that gives you a.

Of how you can go about big things like changing a background color without falling back to a pixel editor like.


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