We then applied a preset and created a darker version and a brighter version. Just to recap what we did, we started with a base image as seen right out of camera. If I was not combining two identical images and instead was dropping in a new background, I could have used the chisel tool to fix this section. It's during this step that I also removed some of the signs and poles that were visible on the right of the image. So to fix this, I simply selected the clone stamp tool, sampled a section right next to the fringing, and painted over it. But thankfully, ON1 Photo RAW also has built-in healing and cloning tools. Due to the nature of combining two identical images with such drastic exposure differences, there is nothing I can do to the mask to fix this section. The last step to finalize this image is to attack the fringing on the right side of the model. You can also adjust the shape of the bug if you rather use a circular gradient, mirrored gradient, etc. So I can now rotate, move, adjust the falloff, and opacity as I see its effect on the image. This bug lets you apply a gradient mask to the image and then fine tune everything as you see it applied.
As you can see below where I have already brushed, the gradient is much smoother than the top of the image where I have not brushed yet.įor the bottom of the image, I actually didn't want to rely on a brush tool because I wanted the transition to be a lot smoother then I could paint in manually.
This allowed me to make the transition much more even and less spotty. To fix this I used the refine tool which allows me to blur the parts of the mask that I brush over.
Not only did this get rid of the fringing, but it also gave the light on her a much more dramatic falloff.įor this step, I had the feather set to 40 so that I didn't have a very hard edge, but it still did have some unevenness because of how I was building up the brush strokes. I set the opacity to 10 percent and simply blended the mask into the model. So what I did was use the masking brush with the perfect brush option turned off this time. This part was a bit easier because I want the left of the model to fall a bit darker. The next step I took was to get rid of the fringing on the left of the model. There is also a refine edge brush (N) that has a really cool color decontamination option that works really well in certain situations. So as I use the chisel brush over the hair, I can easily remove some of the fringing you see as a white border around her head. This makes it so you can quickly and easily adjust the edge of a mask a couple pixels at a time. What this tool does is allows you to brush over the edge of a mask and remove or add to that mask by a defined number of pixels. The first tool I’ll use to fine tune this is the chisel tool. As you can see above, in this example we are most of the way, but we have some fine tuning to do. This setting makes it so the brush can distinguish between different colors and edges so that I can quickly mask out a subject.Īlthough the perfect brush can give you perfect results, it’s generally meant to get you most of the way. The important step here is that I’m going to turn on the perfect brush setting. The first tool I’m going to use is the masking brush. This is where I have access to all the masking tools. I simply select both files and click into the layers panel. The great thing about ON1 Photo RAW is that I don't need another program to do this. Now that I have the two images I want to work with, I now need to combine them using layer masks. I also warmed up the color temp quite a bit in an effort to mimic the light you would get from a more direct sunset light. For the second version, I bumped up my exposure so that the light was what I wanted on the model. For one version I dropped my exposure so that I could get the darkness of the sky to where I wanted. From here, I created two different versions of the same image. Because of this, the image straight out of the camera is far from impressive.Īfter bringing the image into ON1 Photo RAW, I applied my base preset. So what I did was expose for the scene in an effort to maximize my dynamic range. The sun was setting so the model still had some light on her, but not enough light to give me the drama I was looking for. To start, this image was shot at Red Rocks in Las Vegas during WPPI. In an effort to explain all the various tools that ON1 Photo RAW has to offer in terms of masking, I thought it would be good to just walk through a specific image where I used all the tools. With ON1 Photo RAW, this process has become so much simpler. Since the beginning of my adventure into photography, Photoshop has been the go-to tool for cutting out a subject and creating complex masks.
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