How to remove almost any image from a white background in two quick steps

Harry Guinness is a photography expert and writer with nearly a decade of experience. His work has been published in newspapers like The New York Times and on a variety of other websites, from Lifehacker to Popular Science and Medium’s OneZero. Read more.

Cutting an object out from a white background can be a pain. Photoshop’s automated tools give uneven results in a lot of case. However, we do have a technique that, while not perfect, gives great results more than 90% of the time. More importantly, it’s nice and quick.

Setting Up the Document

Open the image from which you want to remove the white background from in Photoshop. I’m using this product photo of a Tissot Le Locle watch which was our sister site, Review Geek’s, pick for best affordable automatic gold watch.

Double click on the Background layer to unlock it.

Next, go to Layer > Duplicate Layer, and then click “OK” or use the keyboard shortcut Control-J (Command-J on a Mac).

Click on the little eye icon to turn visibility off for the top layer, in my case it’s “Layer 0 Copy” and everything is set up.

One optional step is to add a colored background to make things a little easier to see. I’m going to do it just to make the screenshots clearer.

Go to Layer > New Fill Layer > Solid Color, click “OK,” and then select a nice bright color. I’m going with this fetching pink.

Drag the Fill Layer to the bottom of the Layer stack, so it’s underneath everything, and you’re ready to go.

Creating the Outline

The first step is to get rid of all the white in the image. To do this we’re going to use Blend If, one of Photoshop’s more advanced features. Just follow the instructions and you’ll be fine.

Double-click on the original layer (Layer 0 in our example), to bring up the Layer Styles dialog.

The only thing we’re interested in here is the Blend If sliders.

Click on the white arrow on the right hand side of the top slider—“This Layer”—and drag it to the left. Instantly, a lot of the white will vanish.

This is obviously a rough correction, so we need to use a bit more finesse. Drag the arrow until there’s only a thin white border around the object you’re cutting out. Don’t worry about any pink showing up on it, we’ll fix that in the next step.

Next, hold down Alt or Option, click on the arrow, and keep dragging to the left. This will split the arrow.

Play around with the split arrows until even the thin white border has pretty much disappeared. Again, don’t worry about how things look on the inside of the object.

When you’re happy that almost all the white is removed from the background, click OK. Here’s what the watch looks like now. The white’s all gone from the background, but the center of the watch is showing quite a bit of pink.

Masking in the Middle

Select the layer you duplicated at the start and turn visibility back on by clicking in the box where the eye icon was.

Next, go to Layer > Layer Mask > Hide All. This will add a black layer mask to the layer.

If you’re confused about layer masks, check out our full guide. The basics are that any black on a layer mask conceals, while any white on a layer mask reveals. Since we’ve added a totally black mask, the duplicated layer is now hidden, but we can paint white on the mask using the Brush tool (or any other tool you like) to reveal things. This is how we’re going to fix up the inside of the object.

Select the Brush tool (the keyboard shortcut is B). Make sure that Hardness is set to about 80% and that Opacity and Flow are at 100%. Also press D to reset the brush to its default colors; this means we’ll be automatically be painting with white.

Resize the brush using the [ and ] keys and then just start painting on any area of the inside that’s pink. Since we’ve already got a good outline, you can be pretty heavy handed with the stuff in the middle. Make the brush smaller and smaller as you get closer to the edges so you don’t stray over the lines. If you make a mistake, press X to switch to painting with black and paint over where you’ve messed up; press X again to go back to white.

Once you’re done, you should have something that looks like this.

Set the background to whatever you want and then save your image . If you want to keep the background transparent, make sure to save it as a PNG file.

Finishing Up

This is a quick and dirty method but it works. You can spend more time and use some of Photoshop’s more technical tools to create marginally better masks, but it’s rarely worth it.

This method isn’t perfect. I deliberately chose an object that’s a bit difficult for the demonstration. Things that are close to white in color or shiny around the edges like the watch require more care to get right. If you’re cutting something out with hard black edges, you can do it in seconds.

I want a “product shot” style photo of several small objects without any background (pure white background).

Knowing the hours of work involved in properly deep-etching, but not having nice lighting or a curved-white-matte background, I photographed them on white paper. My hope was that instead of laboriously removing the BG with a selection tool, I could somehow “whiten the whites” of the images use “curves” or something like that.

However, I played with the curves tool but couldn’t figure it out. How do I do this? (or any better suggestions?)

4 Answers 4

I’ll show how you can do this in GIMP, it should be similar in photoshop.

We start with our object on paper. Curves dialog basically shows us histogram of the image. When I click into the image, I can see where in the histogram given area is. This way I can find out where approximately my future white point is going to be.

Then I modify the curve in way that makes tones even a bit darker than our projected point go completely white. The curve basically sets brigtness tone mapping in our image. Original curve projected every tone to the same one, so did not change anything. The curve we have now makes everything above 55% brightness completely white, the second point in the middle tries to keep tones that were originally dark relatively unchanged.

As you can see this curve didn’t work completely. I could have pushed the brightness a bit further (e.g. the curve a bit left, to eat out more of middle tones), but I think that would destroy original image too much. If I needed to go through with this I’d probably create another layer in which I’d push it all the way to eliminate the shadow, and than mask it in a way that would only show up in shadow area where I need it, without affecting a low of the object.

Or, our can simply take this as a a starting point and use white brush to kill the rest of the background.

June 19, 2019

Dishan Khan

• Miscellaneous

There will be numerous reasons for which you need to have a transparent background. For instance the image will look lively in some other background or color. Today we will look into ways on how you can do it in simple way.

Mannequin

Let’s say we have this image, we have the mannequin on this white background and we will get rid of this. Now there are number of ways to do this. We will be doing it very quickly by pressing W key to select the Quick selection Tool and drag around the image.

Select the object of the Image with Quick Selection Tool

Now this quick selection is not going to be perfect. We would take a look at how we can use this imperfect selection in order to create a mask, we can then modified further.

Well, now that we have a selection we will go ahead and click on the Add layer mask icon.

Click on the Add layer mask icon

The following image will appear.

Right Selection of the image

If instead of the above image the wrong stuff got selected, mean the mannequin is in zigzag pattern and the background is white simply press Cmd + I for Mac Ctrl + I for PC or click on Image> Adjustment> the Invert button so that you have the correct area selected.

Now at this juncture I say you know what I think our image looks pretty good yet it’s really hard to tell. So, choose Select > Refine Mask or press the shortcut Alt+ Ctrl+ R for PC.

Select Refine Mask

Go ahead and navigate the Refine Mask window. We will check our work against Black, this will give us a clear picture of our selection.

If you have any problem regarding removing part of the background then you can easily figure that out here. So far we have selected a fair selection.

Notice that when you select Refine Mask you can also modified the edges to soften those up a little bit. Play around the Radius, Smooth, Feather, Contrast, shift Edge etc. Fine, after we find a sweet balance, we decided as it is looking fine, click OK.

But what if there were spots which you needed to work on further? Let’s say for example, Lets say I missed out this two spots,

Filling in the missing portion

Click on the image icon. If that icons looks kind of small right click on the mouse in the layers palette to change this to large thumbnail.

Select Large Thumbnails

Quickly select the miss out portion with Quick Selection Tool, shortcut W, to fill that with white click on the mask. One way to fill that area or any other area which might need attention like this is to select Edit> Fill and with the following window under Use: select White so then it will bring back that area. In case there are white areas to fill in select Edit > Fill and then Black.

Select White under Edit & Fill

So this is how we have extracted this image from its background. This is all about this tutorial. Hope you enjoyed it.

Wrinkle Removing:

However, did you notice the wrinkle on the suit is killing the tone of the image. No one will be willing to pay for this one after seeing this in this state. Make it look elegant with wrinkle free.

การตัดวัตถุออกจากพื้นหลังสีขาวอาจเป็นความเจ็บปวด เครื่องมืออัตโนมัติของ Photoshop ให้ผลลัพธ์ไม่สม่ำเสมอในหลายกรณี อย่างไรก็ตามเรามีเทคนิคที่ในขณะที่ไม่สมบูรณ์แบบให้ผลลัพธ์ที่ยอดเยี่ยมมากกว่า 90% ของเวลา ที่สำคัญมันดีและรวดเร็ว.

การตั้งค่าเอกสาร

เปิดรูปภาพที่คุณต้องการลบพื้นหลังสีขาวออกจากใน Photoshop ฉันใช้ภาพผลิตภัณฑ์นี้ของนาฬิกา Tissot Le Locle ซึ่งเป็นเว็บไซต์น้องสาวของเรารีวิว Geek’s เลือกนาฬิกาอัตโนมัติทองราคาไม่แพงที่ดีที่สุด.

จากนั้นไปที่ Layer> Duplicate Layer จากนั้นคลิก“ OK” หรือใช้แป้นพิมพ์ลัด Control-J (Command-J บน Mac).

คลิกที่ไอคอนรูปตาเล็ก ๆ เพื่อปิดการมองเห็นของเลเยอร์ด้านบนในกรณีของฉันคือ“ เลเยอร์ 0 คัดลอก” และทุกอย่างถูกตั้งค่า.

ขั้นตอนเดียวคือการเพิ่มพื้นหลังสีเพื่อให้มองเห็นสิ่งต่าง ๆ ได้ง่ายขึ้น ฉันจะทำเพื่อให้ภาพหน้าจอชัดเจนขึ้น.

ไปที่เลเยอร์> สร้างเลเยอร์ใหม่> สีทึบคลิก“ ตกลง” จากนั้นเลือกสีสดใสที่ดี ฉันจะไปกับสีชมพูเรียก.

ลาก Fill Layer ลงไปที่ด้านล่างของ Layer Layer ซึ่งอยู่ด้านล่างทุกอย่างและคุณพร้อมที่จะไป.

การสร้างโครงร่าง

ขั้นตอนแรกคือการกำจัดสีขาวทั้งหมดในภาพ ในการทำเช่นนี้เราจะใช้ Blend If ซึ่งเป็นหนึ่งในคุณสมบัติขั้นสูงของ Photoshop เพียงทำตามคำแนะนำแล้วคุณจะสบายดี.

ดับเบิลคลิกที่เลเยอร์ดั้งเดิม (เลเยอร์ 0 ในตัวอย่างของเรา) เพื่อเปิดกล่องโต้ตอบเลเยอร์สไตล์.

สิ่งเดียวที่เราสนใจในที่นี้คือ Slend Blend If.

คลิกที่ลูกศรสีขาวทางด้านขวาของแถบเลื่อนด้านบน -“ เลเยอร์นี้” – และลากไปทางซ้าย สีขาวจำนวนมากจะหายไปทันที.

เห็นได้ชัดว่านี่คือการแก้ไขคร่าวๆดังนั้นเราจำเป็นต้องใช้กลเม็ดเด็ดพรายมากขึ้น ลากลูกศรจนกว่าจะมีเส้นขอบสีขาวบาง ๆ รอบวัตถุที่คุณกำลังตัดออก ไม่ต้องกังวลว่าจะมีสีชมพูปรากฏขึ้นเราจะแก้ไขในขั้นตอนต่อไป.

จากนั้นกด Alt หรือ Option ค้างไว้คลิกที่ลูกศรแล้วลากไปทางซ้ายเรื่อย ๆ จะเป็นการแยกลูกศร.

เล่นกับลูกศรแยกจนกระทั่งเส้นขอบสีขาวบาง ๆ หายไป ไม่ต้องกังวลอีกต่อไปว่าจะมองสิ่งต่าง ๆ ภายในวัตถุอย่างไร.

เมื่อคุณพอใจที่ลบสีขาวเกือบทั้งหมดออกจากพื้นหลังให้คลิกตกลง นี่คือสิ่งที่นาฬิกาดูเหมือนตอนนี้ สีขาวหายไปจากพื้นหลัง แต่จุดศูนย์กลางของนาฬิกากำลังแสดงสีชมพูอยู่เล็กน้อย.

กำบังในกลาง

จากนั้นไปที่ Layer> Layer Mask> Hide All สิ่งนี้จะเพิ่มหน้ากากเลเยอร์สีดำเข้ากับชั้น.

หากคุณสับสนเกี่ยวกับเลเยอร์มาสก์ลองดูคู่มือฉบับเต็มของเรา พื้นฐานคือสีดำบนเลเยอร์มาสก์ปกปิดในขณะที่สีขาวบนเลเยอร์มาสก์จะเผยออกมา เนื่องจากเราได้เพิ่มหน้ากากสีดำโดยสิ้นเชิงชั้นที่ซ้ำกันจะถูกซ่อนอยู่ แต่เราสามารถทาสีขาวบนหน้ากากโดยใช้เครื่องมือแปรง นี่คือวิธีที่เราจะแก้ไขด้านในของวัตถุ.

เลือกเครื่องมือแปรง (แป้นพิมพ์ลัดคือ B) ตรวจสอบให้แน่ใจว่าตั้งค่าความแข็งไว้ที่ประมาณ 80% และความทึบและการไหลอยู่ที่ 100% นอกจากนี้กด D เพื่อรีเซ็ตแปรงให้เป็นสีเริ่มต้น หมายความว่าเราจะวาดด้วยสีขาวโดยอัตโนมัติ.

ปรับขนาดแปรงโดยใช้ปุ่ม [และ] จากนั้นเริ่มวาดภาพบนพื้นที่ด้านในที่เป็นสีชมพู เนื่องจากเรามีโครงร่างที่ดีอยู่แล้วคุณสามารถส่งของหนัก ๆ ในระดับกลางได้ ทำให้แปรงเล็กลงและเล็กลงเมื่อคุณเข้าใกล้ขอบมากขึ้นเพื่อที่คุณจะได้ไม่ต้องหลงทาง หากคุณทำผิดพลาดให้กด X เพื่อสลับไปที่การวาดด้วยสีดำและทาสีให้ตรงจุดที่คุณทำเลอะเทอะ กด X อีกครั้งเพื่อกลับไปที่สีขาว.

ตั้งค่าพื้นหลังเป็นสิ่งที่คุณต้องการแล้วบันทึกภาพของคุณ หากคุณต้องการให้พื้นหลังโปร่งใสตรวจสอบให้แน่ใจว่าได้บันทึกเป็นไฟล์ PNG.

จบแล้ว

นี่เป็นวิธีที่รวดเร็วและสกปรก แต่ใช้งานได้ คุณสามารถใช้เวลามากขึ้นและใช้เครื่องมือทางเทคนิคของ Photoshop เพื่อสร้างมาสก์ที่ดีกว่าเล็กน้อย แต่ก็ไม่ค่อยคุ้มค่า.

วิธีนี้ไม่สมบูรณ์ ฉันจงใจเลือกวัตถุที่ค่อนข้างยากสำหรับการสาธิต สิ่งที่ใกล้เคียงกับสีขาวหรือแวววาวรอบ ๆ ขอบเช่นนาฬิกาต้องการการดูแลที่ถูกต้องมากขึ้น หากคุณกำลังตัดบางสิ่งที่มีขอบสีดำแข็งคุณสามารถทำได้ในไม่กี่วินาที.

Harry Guinness is a photography expert and writer with nearly a decade of experience. His work has been published in newspapers like The New York Times and on a variety of other websites, from Lifehacker to Popular Science and Medium’s OneZero. Read more.

You set up the tripod, line up the shot, and get ready to take the best picture of your life. You stare through the viewfinder and as you press the shutter release a random passerby leaps into the frame. You’ve been photobombed.

Sometimes you’ll notice right away and be able to take another shot, but often, you won’t see the image intruder until you get home. Rather than trash an otherwise awesome photo, lets look at how you can use Photoshop to get rid of photobombers and other unwanted background objects.

The Easy Way: Content-Aware Fill

Open the image you want to edit in Photoshop. You don’t want to mess up the original pixels, so duplicate the background to a new layer with the keyboard shortcut Control+J (or Command+J for Mac users).

Then, grab the Quick Select Tool from the Tools Panel or with the keyboard shortcut W. If the Magic Wand Tool is selected instead, press Shift+W to switch to it. The Quick Select Tool selects all the similar, nearby pixels to the area you click.

Resize the tool tip with the [ and ] keys until it is a little smaller than the object or person you want to remove. Click and drag around the target until it’s selected.

If the Quick Select Tool accidentally selects something you don’t want selected, hold down Option on a PC or Alt on a Mac and drag over the unwanted area. This will subtract it from the selection.

If you want to add an extra area to the selection, hold down the Shift key and click on the area you want to add.

The Quick Select Tool’s selections are far from perfect, so to make sure the whole item to be removed is fully selected, go to Select > Modify > Expand and enter a value of around 5 pixels. This will expand the selection beyond the edges the Quick Select Tool picked up.

Next, go to Edit > Fill and select Content-Aware from the Contents dropdown. Press OK and Photoshop will analyse the surrounding area and come up with a best-guess fill.

There’s an element of randomness to the Content-Aware Fill tool. If you aren’t happy with the first result, press Control+Z (or Command+Z on a Mac) to undo it, and try again. It might take three or four tries, but Photoshop will normally come up with a decent fill.

If there are some areas that look good and others that don’t, grab the Quick Select Tool again and only target the bad areas. You can repeat this as many times as needed. The image below, for example, took about 15 Content-Aware Fills to get to a point I liked.

Photoshop’s automatic removal tools have got a lot more accurate since they were first introduced. While they’ll never be as good as going in and doing things slowly by hand, they can do a reasonable job of cleaning up most images. They work best on organic and random backgrounds; complex repeating patterns and straight lines can present problems. Even still, you can get away with a lot for social media posts.

The Advanced Way: Clone Stamp

The Content-Aware approach is great, but it’s no where near as good as doing things yourself with the Clone Stamp. If you really want to remove a photobomber or background element so that there’s almost no trace, this is the best way to do it.

You’ll need a working knowledge of layers and layer masks to follow along, so check out our article on the subject if you’re not already familiar with them.

Open the image you want to edit in Photoshop. Create a new layer and select the Clone Stamp from the Tools Panel—the keyboard shortcut is S.

Make sure that Aligned is checked and that Sample is set to Current & Below.

The Clone Stamp takes pixels from one area of an image (the “Clone” part of its name) and paints them to another (the “Stamp” part of it). It works like the Brush tool, but for copying pixels. With it, you can use existing pixels in the image to cover over anything you want to remove.

Find an area of your image that looks like it will cover up the photobomber. Hold down Alt (or Option on a Mac) and click on it. This sets the Clone Stamp’s sample point.

Paint the sampled pixels on the new layer until you have a good sized patch to work with.

Select the Move Tool (press V on your keyboard) and reposition the patch over the area you want to cover. It doesn’t matter how rough it looks at this point.

Add a black mask to the layer by holding down Alt and clicking on the Add Layer Mask button. This will hide the patch.

Next, select the Brush tool. Choose a Soft Round brush, with a Flow of about 40%.

Resize the tooltip with [ and ] and paint white over the person or object you’re trying to remove. This will reveal the patch but only in the areas where you want it. Tweak the mask using the Brush tool so that the original image and patch blend nicely.

To fully remove someone or something, you’ll normally need to use a couple of patches. It took me four to remove the gnome photobomber. You can see a quick time lapse of how it developed below.

Take your time, work your way through the process, and you’ll be able to remove almost anything.

Below is a comparison of the two removal methods. While Content-Aware does a good job, it’s obvious that the Clone Stamp does much better at keeping the scaffolding looking natural.

Removing photobombers and other things you don’t want in the background of your photos is one of the most common tasks people want to do in Photoshop. Automated methods will make a decent attempt but, if you really want someone gone, it’s still best to go in by hand with the Clone Stamp.

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Layering images experimentally in photoshop can be an exciting way to bring a fine art feel to your photography. It is spontaneous and unpredictable, with different outcomes each time.

The layering technique I talk about in this article is a way you can explore and get inspired by the work of Victorian art photographers like Julia Margaret Cameron. They would have used long exposures because of the limitation of their cameras, which added a dream-like quality to their images.

Instead of long exposures, I have used multiple images shot of the same subject, layering them and using Photoshop blending modes. It gives a different kind of ethereal feeling to the images which you can use on any subject, not just portraits.

Start with a portrait

Your portrait doesn’t have to be sophisticated, but it should be able to be repeated over a dozen shots or so. I opted for simple natural window light, but there’s no reason why you couldn’t use flash instead.

The image I found worked best was one with strong colors and features with a simple background. I opted to take inspiration from Julia Margaret Cameron’s photography by using simple historical clothes, and an instantly recognizable prop.

You want to try to end up with a dozen or so slightly different images of your subject. Take far more images than you need so that you have lots of choices when it comes to selecting images for your layering effect.

Between each shot, ask your subject to move just a small amount – perhaps their head or their hands, but just a fraction. Try to avoid any dramatic pose changes.

Layering the images in Photoshop

When it comes to selecting images and editing them, there are many different software packages and options. I’m going to talk about how I use Lightroom Classic and Photoshop to achieve this effect. Even within these two software packages, there are other ways you can accomplish the same effect. As long as you end up with a photograph that you love, then you haven’t done anything wrong!

I start by importing my images into Lightroom Classic and then selecting the ten or so images that will make up the layers of my final image. At this point, I try to choose a ‘base’ image that will be at the bottom of the layer stack in Photoshop and will show through the strongest. Generally, this is my favorite image out of the set.

When you’ve got your images selected in Lightroom Classic in the Develop module, open the ‘Photo’ menu and select ‘Open as Layers in Photoshop.’

This will save you having to manually stack all of the images together. You’ll end up with a single file open in Photoshop with all of your selected images placed on layers.

The next stage is to place your ‘hero’ image (the one that you want to show through the most) at the bottom of the layer stack by dragging and dropping it. Then select all the layers above and reduce their opacity.

Playing with Photoshop Blending Modes

This is when it starts to get interesting. Playing with the different photoshop blending modes for the layers will give you all kinds of different results. Dark images will suit different blending modes to lighter images. You can check out a comprehensive guide to photoshop blending modes here!

You’ll want to turn down the opacity of the layers quite far so that the original ‘hero’ image shows though. The other layers should then become more of a fuzzy halo rather than a focal point for the shot.

Once you’ve found a blending mode and opacity that looks good, you can start to fine-tune the image.

Begin by identifying parts of the images that don’t really work, and work out which layer they’re on. Then create layer masks and use a black paintbrush to gently fade those unwanted parts away.

I decided to remove almost all of the layers from the face of my subject since it was a portrait, and I wanted to be able to see her clearly. I also took away some distracting echos of hands, which I felt made the final image stronger. Since you’re working using layer masks, you can always undo any of your choices at this stage – just simply paint over the bits you want to see again on the layer mask with a white paintbrush!

As you can see from my layer masks, they don’t have to be neat. Just use a fairly large brush with soft edges and a low opacity and you won’t be able to see the brushstrokes of your mask in the final image.

Finishing your image

Once you’re happy with the basic image you’ve achieved through layering, I’d suggest saving a copy of your work. Then you can experiment further with different techniques.

Once I’d saved my image in Photoshop, I closed it and went back to Lightroom Classic to work on the shot further. Here, I simply changed the toning of the image slightly with a preset and applied some sharpening to key areas of the picture.

The result was a warmth that always makes me think of Old Masters paintings in galleries. Together with the effect of the layers, it creates a rather painterly fine art image.

But, of course, there’s absolutely no harm in processing the same image in a different way. This is one of the reasons I love Lightroom Classic – you can create virtual copies of a single shot and work on them all differently!

This variation I processed in Nik Analog Efex Pro 2, which you can use straight from the Lightroom Classic interface in the same way that you can take photos to Photoshop. The software itself is very similar to Lightroom Classic with its adjustment panels on each side but instead specializes in replicating old film effects.

It is a great way to create an image that pays homage to the great Victorian art photographers.

You could get a similar effect by layering wet plate textures and dust and scratch layers in Photoshop before adding a black and white conversion.

There are many ways to get all these different effects – please try some and post your results in the comments. I’d love to see what you did with this technique and how you achieved it!

Recently I’ve been playing around with OpenCV and Python to try and automate the process of removing background from an image of an object.

From the images you can see that the background is close to plain white. You can also see that the second image shown is pretty blurred and not well illuminated.

OpenCV has several ways to remove background (like watershed algorithm, canny edge), but none of them seems to work good (out-of-the-box at least) on the images I was using. (Which is surprising, by the way, since OpenCV is quite popular.)

Here I show you how to do segmentation for “simple” images like these. The algorithm that I have used is as follows:

1. Run an edge detection algorithm on the image (like Sobel, Scharr or Prewitt)
2. Reduce noise on the resulting edge image (using a simple trick I found from Octave forge/Matlab)
3. Run contour detection over the edges, return the contour in hierarchical order and pick the contours in the first level heirarchy.
4. Now either pick the largest contour (in this case) or ignore all contours whose area is less than 5% of the total image area.

Before going further into details, let me first mention the several limitations of this approach:

1. contour detection would work poorly if object edges are touching the edges of the image.
2. contour detection would work poorly if there are multiple objects with edges touching each other (like for example if one partly covers an object by placing another object on top) or if background texture is very coarse.
3. If background color is similar to object color, the edges probably won’t be detected well.

So in other words, this approach works only if background is relatively plain, contrasting in color (to the object) and the object stands separated from other objects and image edges.

Now I’ll dive into more details and the code.

Step 0: First begin with preprocessing the image with a slight Gaussian blur to reduce noise from the original image before doing an edge detection.

Step 1: Next we do the edge detection. The most commonly use method to do edge detection is to use the Sobel operator.

The Sobel operator calculates the difference between intensities (aka “gradients”) of pixels in a specific direction (x-axis or y-axis).

We have to compute the Sobel edge on both axis and then get the magnitude of gradients combined; which is done by finding their euclidian distance (sqrt(x^2 + y^2)) on each corresponding pair of values.

Doing that with loops in Python would be slow. Fortunately numpy gives np.hypot() method that can do that for us quickly.

Since we are dealing with color images, the edge detction needs to be run on each color channel and then they need to be combined.

The way I am doing that is by finding the max intesity from among the R,G and B edges. I’ve tried using average of the R,G,B edges, however max seems to give better results.

Step 2: However the image has lots of noise (you can’t see it here because I think image resizing removed much of the noise. But if you run the code you’ll see it more clearly). I’ve found an easy trick from Octave forge/Matlab that will reduce noise considerably.

The trick to reduce noise is to zero out any intensity that is less than the mean of all the intensities of the edge image.

So add the following after calling edgedetect() function:

Step 3: Next we do contour detection. This one is pretty straight-forward. The thing to understand here is “heirarchical” contours.

What that means is, any contour (c1) enclosed inside another contour (c2) is treated as a “child” of c2. And contours can be nested to more than one level (So the structure is like a tree). OpenCV returns the tree as a flat array though; with each tuple containing the index to the parent contour.

We are not done yet with findSignificantContours(). Next we remove any contour that doesn’t take up at least 5% of the image in area. This reduces the rest of the noise.

I’ve drawn the detected contour on the original image. Let’s see how it looks.

That looks nice. The contours need smoothing though, which I’ll mention later. A point to note is that if the images are resized down from

250×300 then the contours are going to be smoother and even noise reduces a lot.

Finally one can remove the background by creating a mask to fill the contours.

Contour Smoothing

There are two ways to smoothen the final contour. One is to use cv2.approxPolyDP and the other is to use an algorithm called “Savitzky-Golay filter”.

Unfortunately neither works well for all circumstances. The first one works well when the object has straight edges, with sharp corners. Whereas Savitzky-Golay filter works well when the object has curved edges/boundaries. If an object has a mix of both straight and curved edges, then neither works perfectly.

With that said the code for approxPolyDP is as follows:

You can play a bit with the multiplicative factor which I set to 0.1. I am not sure whether 0.1 will work for all image resolutions.

For Savitzky-Golay smoothing, one has to first install scipy and scipy.signal. The code is as follows (output image also shown):

That’s all folks.

Update Nov 2016: I updated the article. I wrongly assumed scharr edge operator to be way better than sobel because the intensities given by scharr are stronger. But it turned out that it doesn’t affect contour detection and in fact sobel is slightly more accurate.

Also I found out that the noise reduction trick is better applied after combining the edge images for all three channels (RGB) rather than my previous approach of applying noise reduction on each channel.

A new method, ctsPore, to extract pore information from CTS images is proposed.

CtsPore is a revised multi-threshold method with error corrections and refinements.

Comparison study between ctsPore and common methods was conducted.

CstPore is effective for high-resolution images dyed with different colour agents.

Abstract

In rock physics and petrological applications, pore identification from cast thin-section (CTS) images is a widely used means of estimating porosity and evaluating types of pores and pore structure parameters. Common problems encountered in current automatic methods of pore extraction from these images are accuracy and/or computational efficiency, especially as the image resolution increases. In high resolution, the transition boundaries between pores and matrices can easily be wrongly identified by automatic extraction methods, which would have significant impacts on the final pore estimation. To address this problem, we propose a revised multiple threshold method combined with error correction and image refining. The method, named ctsPore, is implemented in the hue-saturation-value colour space and comprises three steps: coarse extraction of pores from thin-section images; removal or reduction of incorrectly extracted pores on the surface of identified particle grains and within the transition boundaries between pores and rock matrices; and refinement of extracted pore images by removing unrealistically small areas within identified particle grains or pore regions. The first step applies the threshold method based on the hues of the pixels; the second step is based on the product of saturation and value; and the third step is based on the statistics of small areas. To demonstrate the application of the proposed method, a series of comparison studies were conducted using cyan-, blue- and magenta-impregnated cast thin-section images from the southern margin of the Junggar Basin, China. The results show that ctsPore is an accurate and efficient means of extracting the pore information from high-resolution CTS images impregnated with different colour agents.

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Learn how to remove grass stains with the folks from Martha Stewart’s REAL SIMPLE. Summer means light-colored clothing?and light-colored clothing often means grass stains. This quick approach should get the green out. Don’t let those pesky grass stains ruin your summer clothes. Watch this video for a quick stain fix.

What You Need
Pre-wash stain-removal spray (or a solution of white vinegar and water), toothbrush (or a rag or nailbrush), laundry detergent

Follow These Three Easy Steps

How To: Remove a Grass Stain Step 1
Pre-treat the grass stain
Apply a pre-wash stain removal treatment to the stain and let sit for about 15 minutes. For a more natural approach, use a solution made of one part white vinegar to two parts water.

How To: Remove a Grass Stain Step 2
Lightly scrub your stain
Use a toothbrush (or a rag or nailbrush) to work liquid into the area.

How To: Remove a Grass Stain Step 3
Launder with like fabrics
Finish with a wash using an enzyme detergent (most standard laundry soaps are enzyme-based), which will break down proteins and lift the stain from your garment.

Remove a grass stain with Martha Stewart’s REAL SIMPLE

Click through to watch this video on realsimple.com

Want to master Microsoft Excel and take your work-from-home job prospects to the next level? Jump-start your career with our Premium A-to-Z Microsoft Excel Training Bundle from the new Gadget Hacks Shop and get lifetime access to more than 40 hours of Basic to Advanced instruction on functions, formula, tools, and more.

Pay attention to these ironing tips to iron your pants perfectly. Crisply ironed pants help create a pulled-together look. Follow these simple steps for a quick, flawless press?with creases or without. Learn how to iron pants with the folks from Martha Stewart’s REAL SIMPLE.

What You Need
Iron, ironing board, pair of pants

Follow These Five Easy Steps

How To: Iron Pants Step 1
Iron the pockets
Turn pants inside out. Iron pockets first, laying them flat against the board.

How To: Iron Pants Step 2
Iron fly, seams, and hems
Iron the fly area of the pants, then the seams and hem of the first leg. Go back and forth for a nice, flat finish. Repeat on opposite leg, then turn the pants right-side out.

How To: Iron Pants Step 3
Iron the waistband
Slip the waistband around the board’s narrow end, with the fly facing the floor. Iron waistband, rotating pants around the board as you go.

Tip: Iron lightly over the pockets to avoid creating creases with their outline.

How To: Iron Pants Step 4
Iron the legs
Fold the pants lengthwise to line up the legs, then lay pants on the board. Flip one leg up to iron the inside of the bottom leg, working in sections all the way to the crotch. Then flip pants over to iron the outside of that leg. Repeat this step on the other pant leg.

Tip: To avoid a side crease, iron just out to (but not directly over) the edge of each leg.

How To: Iron Pants Step 5
Set creases with steam
To create a front crease on your pant legs, align inseams and lay pants on board. Iron directly over the edges of the legs or give pants a burst of steam along the edge while holding the iron a few inches above the fabric.
Tip: Hang pants right away—and don’t forget to unplug your iron.

Iron pants with Martha Stewart’s REAL SIMPLE

Click through to watch this video on realsimple.com

Want to master Microsoft Excel and take your work-from-home job prospects to the next level? Jump-start your career with our Premium A-to-Z Microsoft Excel Training Bundle from the new Gadget Hacks Shop and get lifetime access to more than 40 hours of Basic to Advanced instruction on functions, formula, tools, and more.

CampFireJack

Member

• Feb 17, 2022

In this post, let’s not get caught up in the definition of “blemish.” For the sake of learning about Adobe Camera Raw and its Spot Removal Tool, we’ll consider a blemish to be acne, a single zit, a freckle, a shadow, a spot on the wall – basically anything you’d like to remove, whether it be good or bad. I never really enjoyed reading posts while looking at photos strictly of those with something wrong with their skin, especially when we can use the tool I’ll discuss below in so many ways.

I chose this particular photo to work on today specifically because there appears to be sand or dirt on the individual’s face. This can happen in a photo. Whether it be a piece of dust on a camera sensor, a fly in the air or really, truly a blemish, it makes no matter. Whatever it is, it needs to be removed, which is exactly what I’ll cover below. The ins and outs of removing skin imperfections and dirt, that is.

The Spot Removal Tool​

I’ll begin by opening the demo photo into Adobe Camera Raw. From there, I’ll click the Spot Removal Tool icon that’s in the top toolbar.

When I do that, a new Spot Removal panel will appear over to the right.

Luckily for us, this tool is very well built by Adobe and extremely intuitive. With only a few clicks, we can remove almost any blemish that exists.

To retouch blemishes in skin, the most appropriate version of this tool is Heal. This can be found in the drop-down menu of the Spot Removal panel.

You may be asking why I chose Heal for this task. Well, that’s because there is a difference between the two choices we have. Let’s take a look.

Heal – This tool fills in the selected area with a blend of the texture, lighting and shading of the sample area in the image.

Clone – This tool simply takes whatever is inside the target area and places is directly in the selected area.

I know these two choices sound similar, but if you read through this post I wrote a while ago, things will become very clear for you. I discuss the Heal and Clone tools in more depth there and even give some nice examples of what happens when using them.

For faces though, we want to use Heal. That means Camera Raw will take an average of what’s found inside the target area and apply it to the selected area. Don’t worry, I’ll explain more below.

If you look below the drop-down box in the Spot Removal panel, you’ll see three sliders. They control Size, Feather and Opacity. These are fairly straightforward. The Size slider controls the size of the tool, the Feather slider controls the softness of the edges and the Opacity slider controls how visible the correction will be. For example, if we lower the opacity to only 10%, any correction we make to a blemish will be barely visible. For the sake of simplicity, it’s common to use a variable size that’s controlled by the [ and ] (bracket) keys on your keyboard. It’s also common to set the feather somewhere in the middle point of the slider (around 50) and the opacity to 100. Unless you’ve got a specific goal in mind, these settings will work fine for most cases.

Retouching a Blemish​

Now that the panel is familiar, I’m going to go ahead and zoom in a bit to see a blemish more closely. To do this, I’ll press the Ctrl++ keys on my keyboard. Also, since I’ve currently got a tool selected, I can hold down the Space bar on my keyboard to temporarily turn my mouse pointer back into the Hand Tool. While in this mode, I can move the image around.

In the above screenshot, I circled the blemish I’ll be working on for this project. As you can see, I’ve increased the size to 12, kept the feathering at 50 and the opacity at 100. Since I’m ready to go, I’ll click on the blemish with the tool.

If you remember back when I discussed what Heal and Clone were, I talked about the “selection” and the “target.” This is where both of those come into play.

If you look at the above screenshot, you’ll see two dashed circles. Both of these circles are tethered together by a dashed line. The red circle is the selection (where the blemish was) and the green circle is the target (the area where the blended data will fill in the selection). In the most basic sense, I clicked on the blemish. That created a red circle. Then, Camera Raw looked around for an area that’s similar to that area. It found one, circled it in green, took an average of the data found inside the green circle and applied it to the red circle. It’s that simple.

Moving the Target

While this is all fine and good, there’s a small problem here. Sometimes, Camera Raw gets it wrong and doesn’t apply the area we’d like to apply to the blemish. In cases like this, it’s very simple to move the target circle by clicking inside it and dragging it around with the mouse pointer.

Moving the Selection

We can do the exact same thing with the selection circle. Click inside of it and drag it around until you’re happy with where it is.

Resizing Both Circles

After making a selection, it’s common to discover that it’s either too small or too large. To resize either circle (the sizes are locked together), just roll over an edge and when your single arrow mouse pointer turns into a double arrow pointer, go ahead and drag.

Hiding the Circles

After fixing a bunch of blemishes, it becomes difficult to clearly see the remaining photo. To quickly hide and unhide all the selection circles, you can click the H key on your keyboard. H to hide and H to unhide.

Visualize Spots​

I actually use this feature quite a bit. It’s perfect for large areas that have spots or specks that aren’t readily visible by giving things a quick glance, but that annoy you a whole lot after you’re finished editing a photo and notice them. It basically turns the photo black and white and accentuates any spots in it.

If I click the Visualize Spots check box that’s found at the bottom of the Spot Removal panel, The photo will turn black and white. The slider controls just how black and how white. In general, for a busy photo like the one I’m working on, it’s best to push the slider all the way to the left to reduce as much noise as possible. Even after I do that with this photo, it’s still quite noisy.

If you look at the screenshot above, you can see how some areas that may be under consideration for spot removal. Especially in the area that I initially chose to correct (I undid that) and the area around the mouth. By looking at the image with this view, it’s possible to find areas you otherwise would have missed.

Domestic CEO gives 4 simple steps to removing ink stains from a pen explosion in the laundry.

Easy DIY Stain Removal

I recently got a phone call from a friend. She was panicking because her son had left a pen in a pair of shorts, and it exploded in the dryer. Not only were the shorts and other clothes covered in ink spots, but the inside of the dryer was also covered in sticky ink blotches. She was picturing having to get a new dryer, or living with the fear of having load after load of spotted clothes for the next few months.

While an exploded pen may seem like a complete disaster, it is easier to fix than you may think. With a few products from around the house and a little time, you will be able to get your clothes, and dryer, back to like-new condition with these 4 steps:>

Step #1: Identify the Damage

As soon as you discover that a pen has exploded in the washer or dryer, the first thing you want to do is find all the damaged clothes. Start by going through each item and examining every square inch of fabric. It’s likely that not all your clothes will have spots, but don’t assume that because one item doesn’t have any spots that another item will be clean as well. The spots can be big or small, and if the affected items go through another wash and dry cycle without being treated, the ink stains will be set. If you don’t want to have to turn your favorite pants into a rag, make sure to check each item thoroughly.

Step #2: Treat Spots on Clothes

Once you’ve found all the spots on the clothes, you want to treat them right away. To treat ink stains, all you need is a can of hairspray. Liberally apply hairspray to each and every spot. And when I say liberally, I mean that you should soak the spot completely. I’ve had friends who have gone through entire cans of Aquanet on a load of laundry. You can’t use too much. The alcohol in the hairspray will make the ink splotches disappear, so the more it smells like the 1980s, the better.

Step #3: Remove Ink From Dryer

While the hairspray is working its magic on your clothes, it’s time to work on the dryer. The last thing you want is to toss a new load of clothes into the dryer, only to have the inky goop heat up and reapply itself to everything once again. Luckily, removing the ink from the dryer walls is also pretty easy.
The two products that work the best are nail polish remover and rubbing alcohol, both of which are pretty common to have around the house, so hopefully you have at least one of them handy. Just apply some of the liquid to a rag and wipe away the ink. Then, use a soapy water mixture to wash the walls of the dryer and wipe away the alcohol or acetone. You may want to run a load of rags through (just wet them with a little water and toss them in) to remove any residue.

Step #4: Wash Clothes Again

After you have let the hairspray set for a little bit, you can toss the inked clothes back into the washer. No matter what type of load you have, make sure to run it on a cold water cycle. Heat will set the stain permanently, so until you know the stain is completely gone, cold water is key.

After the wash cycle, DO NOT put the clothes in the dryer until you have checked and double checked them to make sure the spots are gone. It’s a good idea to hang-dry the items if they are darker because you might not be able to see the spots when the fabric is wet. If the spots are still there, simply reapply the hairspray, and rewash. Repeat this until the spots are completely gone.

While it may cause a panic at first, an exploded pen in the dryer is more nuisance than catastrophe. With a little patience, and a few common household products, everything can be back to new again. And trust me, this is a lesson you only have to learn once before you become hyper vigilant about checking pockets. Although it’s easy, no one wants to go through these steps twice.

For more laundry tips like these, check out my Pinterest page. You can also find me on Facebook and Twitter.

Until next time, I’m the Domestic CEO, helping you love your home!

Bir nesneyi beyaz bir arka plandan kesmek ağrı olabilir. Photoshop’un otomatik araçları birçok durumda eşit olmayan sonuçlar verir. Ancak, mükemmel olmamakla birlikte, zamanın% 90’ından fazlasını harika sonuçlar veren bir tekniğimiz var. Daha da önemlisi, güzel ve hızlı.

Belgeyi Ayarlama

Beyaz arkaplanı kaldırmak istediğiniz görüntüyü Photoshop’ta açın. Bu ürün fotoğrafını kardeşim sitemiz olan Tissot Le Locle saatinin kullandığı İnceleme Geek’in en uygun fiyatlı otomatik altın saat için seçtiğini görüyorum..

Kilidini açmak için Arka Plan katmanına çift tıklayın.

Sonra, Katman> Katmanı Çoğalt’a gidin ve ardından “Tamam” ı tıklayın veya Control-J (Mac’te Command-J) klavye kısayolunu kullanın..

Üst katmandaki görünürlüğü kapatmak için küçük göz simgesine tıklayın, benim durumumda “Layer 0 Copy” ve her şey ayarlandı.

İsteğe bağlı bir adım, işlerin daha kolay görülmesini sağlamak için renkli bir arka plan eklemektir. Bunu sadece ekran görüntülerini daha net hale getirmek için yapacağım..

Katman> Yeni Dolgu Katmanı> Düz Renk seçeneğine gidin, “Tamam” ı tıklayın ve ardından güzel ve parlak bir renk seçin. Bu pembe ile geliyorum.

Dolgu Katmanını Katman yığınının altına sürükleyin, böylece her şeyin altında olur ve gitmeye hazırsınız.

Anahat Oluşturma

İlk adım, görüntüdeki tüm beyazlardan kurtulmaktır. Bunu yapmak için Photoshop’un daha gelişmiş özelliklerinden biri olan Blend If kullanacağız. Sadece talimatları takip et, iyi olacaksın..

Katman Stilleri diyalog penceresini getirmek için orijinal katmana çift tıklayın (örneğimizde Katman 0)..

Burada ilgilendiğimiz tek şey Blend If sürgüleri..

Üst kaydırıcının sağ tarafındaki beyaz oka tıklayın – “Bu Katman” – ve sola doğru sürükleyin. Anında, beyazın çoğu yok olacak.

Bu açıkçası kaba bir düzeltme, bu yüzden biraz daha incelik kullanmamız gerekiyor. Kestiğiniz nesnenin çevresinde yalnızca ince beyaz bir kenarlık oluşana kadar oku sürükleyin. Herhangi bir pembe üzerinde endişelenmeyin, bir sonraki adımda bunu düzelteceğiz.

Ardından, Alt veya Option tuşunu basılı tutun, oku tıklayın ve sola doğru sürüklemeye devam edin. Bu oku bölecek.

İnce beyaz kenarlık bile yok olana kadar bölünmüş oklarla oynayın. Yine, olayların nesnenin içinde nasıl göründüğü konusunda endişelenmeyin.

Neredeyse tüm beyazların arka plandan kaldırılmasından memnunuz, Tamam’ı tıklayın. İşte saatiniz şimdi neye benziyor. Beyazların hepsi arka plandan gitti, ama saatin merkezi pembemsi görünüyor.

Ortada Maskeleme

Başlangıçta kopyaladığınız katmanı seçin ve göz simgesinin bulunduğu kutuya tıklayarak görünürlüğü tekrar açın..

Sonra, Katman> Katman Maskesi> Tümünü Gizle’ye gidin. Bu, katmana siyah katman maskesi ekler.

Katman maskeleri konusunda kafanız karışırsa, kılavuzumuza bakın. Temel hususlar, katman maskesindeki herhangi bir siyahın gizlendiği, katman maskesindeki herhangi bir beyazın göründüğüdür. Tamamen siyah bir maske eklediğimizden, çoğaltılmış katman artık gizlenmiştir, ancak bazı şeyleri ortaya çıkarmak için Fırça aracını (veya sevdiğiniz diğer herhangi bir aracı) kullanarak maskenin beyazını boyayabiliriz. Nesnenin içini bu şekilde düzelteceğiz..

Fırça aracını seçin (klavye kısayolu B’dir). Sertliğin yaklaşık% 80 olarak ayarlandığından ve Opaklık ve Akışın% 100 olduğundan emin olun. Ayrıca fırçayı varsayılan renklerine sıfırlamak için D düğmesine basın; bu otomatik olarak beyaz ile boyayacağımız anlamına gelir.

[Ve] tuşlarını kullanarak fırçayı yeniden boyutlandırın ve ardından yalnızca içindeki pembe olan herhangi bir alana boyamaya başlayın. Zaten iyi bir tasarıma sahip olduğumuz için, orta kısımdaki şeylerle oldukça ağır olabilirsiniz. Kenarlara yaklaştıkça fırçayı küçültüp küçültün; böylece çizgilerin üzerinden sapmazsınız. Hata yaparsanız, siyahla boyamaya geçmek ve karıştığınız yerleri boyamak için X düğmesine basın; beyaza dönmek için X’e tekrar basın.

İşiniz bittiğinde, buna benzeyen bir şeye sahip olmalısınız.

Arka planı istediğiniz şekilde ayarlayın ve sonra resminizi kaydedin. Arka planı saydam tutmak istiyorsanız, onu PNG dosyası olarak kaydettiğinizden emin olun..

Bitirmek

Bu hızlı ve kirli bir yöntemdir ancak işe yarıyor. Marjinal olarak daha iyi maskeler oluşturmak için daha fazla zaman harcayabilir ve Photoshop’un bazı teknik araçlarını kullanabilirsiniz, ancak nadiren buna değer.

Bu yöntem mükemmel değil. Gösteri için biraz zor olan bir nesneyi kasten seçtim. Beyaza yakın renkte olan veya saatin olduğu gibi kenarların etrafındaki parlaklıkların düzeltilmesi için daha fazla özen gösterilmesi gerekir. Sert siyah kenarlı bir şeyi keserseniz, saniyeler içinde yapabilirsiniz.

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“Save As” VS “Export As” in Photoshop

• By Ejezeta
• February 19, 2020
• 0 Comments

A new video by Unmesh Dinda from PiXimperfect explains the differences between using the “Save As” VS the “Export As” option in Photoshop. (more…) [. ]

Why you should work your projects in 16-bit

• By Ejezeta
• February 15, 2020
• 0 Comments

In this 6-minute video tutorial, Unmesh Dinda from PiXimperfect explains why and when to work using either 16-bit or 8-bit in Photoshop. (more…) [. ]

Simulating lighting in post-production with Photoshop

• By Ejezeta
• February 07, 2020
• 0 Comments

Oliver from OU Graphics shares a step-by-step tutorial on how to simulate light for a night scene in post-production using Photoshop. (more…) [. ]

How to match a subject into ANY background in photoshop

• By Ejezeta
• February 04, 2020
• 0 Comments

Another excellent tutorial by Jesús Ramírez, this time on how to match a subject into any kind of background with the help of Photoshop. And lots of tips for better compositing. [. ]

How to turn a white/gray sky into blue in Photoshop

• By Ejezeta
• January 31, 2020
• 0 Comments

Today we share with you another great and useful tutorial from Jesús Ramírez, in which he will teach us all there is to know to turn a white/gray sky into a blue one using Photoshop. (more…) [. ]

Enhance colors with this insanely useful Photoshop filter

• By Ejezeta
• January 29, 2020
• 0 Comments

Jesús Ramírez is back again with a really cool Photoshop trick to enhance colors on your images by only targeting Hue, Saturation and Brighness (or Lightness) using layers. (more…) [. ]

What architecture software to learn in 2020

• By Ejezeta
• January 20, 2020
• 0 Comments

A great way to start a new is by setting goals for yourself, and if your goal for 2020 is to learn new skills by exploring new architecture software, this video, by OU Graphics, is definitely for you! (more…) [. ]

Arqui9 | Image Analysis and Paintover with Matthew Bannister

• By Ejezeta
• January 15, 2020
• 0 Comments

Pedro Fernandes from Arqui9 and Matthew Banniester from DBOX review a stunning piece of work by Arjon Dilig, sharing a few tips on how to make your images shine even more. (more…) [. ]

How to remove obstructing elements in Photoshop

• By Ejezeta
• January 08, 2020
• 0 Comments

Unmesh Dinda has just released this really cool video on how to magically remove almost any kind of object from the foreground of your images in Photoshop. (more…) [. ]

How to match lighting for composites in Photoshop

• By Ejezeta
• January 03, 2020
• 0 Comments

A very useful tutorial from Phlearn were they explain how to realistically match lighting between two photos in Photoshop. (more…) [. ]

Abstract

Image segmentation is the most important steps in image processing process, especially in detecting and segmenting the main focus object from its background or others unwanted image. The objective of this paper is to develop a segmentation technique for pineapple fruit from crop background at the plantation level. Hue value is used to remove the ground and sky from the image. Then, Adaptive Red and Blue chromatic (ARB) is implemented to segmenting the pineapple fruit from the background such as leaves. In this case, the ARB method is still produced misclassifies error. Further segmentation uses Ellipse Hough Transform (EHT) for results enhancement, so that the fruit’s image is completely filtered from misclassify and background. The results obtained show that the proposed technique manages to identify the fruit from the background with better image output compared to conventional method.

Keywords

• Adaptive Red and Blue Chromatic Map (ARB)
• Ellipse Hough Transform (EHT)
• Image processing
• Pineapple segmentation

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References

Asnor, J.I., Rosnah, S., Wan, Z.W.H., Badrul, H.A.B.: Pineapple maturity recognition using RGB extraction. Int. J. Electr. Comput. Energ. Electron. Commun. Eng. 7, 597–600 (2013)

Mohammad, S., Ghazali, K.H., Zan, N.C., Radzi, S.S.M., Karim, R.A.: Classification of fresh N36 pineapple crop using image processing technique. Adv. Mater. Res. 418–420, 1739–1743 (2011)

Zan, N.C., Ghazali, K.H., Mohammad, S., Radzi, S.S.M., Jusof, M.F.M.: ROI segmentation using minimum symmetrical edges distance: a study on josapine pineapple. In: International Conference on Artificial Intelligence in Computer Science and ICT (AICS 2013), pp. 1–6 (2013)

Kamaruddin, S., Sunardi, K., Ghazali, K.H., Hamid, R.: Canned pineapple grading using pixel colour extraction. In: International Conference on Artificial Intelligence in Computer Science and ICT (AICS 2013), pp. 217–226 (2013)

Prabha, D.S., Kumar, J.S.: Assessment of banana fruit maturity by image processing technique. J. Food Sci. Technol. 53, 1316–1327 (2015)

Kaewapichai, W., Kaewtrakulpong, P., Prateepasen, A.: A real-time automatic inspection system for pattavia pineapples. Key Eng. Mater. 321–323, 1186–1191 (2006)

Liming, X., Yanchao, Z.: Automated strawberry grading system based on image processing. Comput. Electron. Agric. 71S, S32–S39 (2010)

Nandi, C.S., Tudu, B., Koley, C.: Computer vision based mango fruit grading system. In: International Conference on Innovative Engineering Technologies (ICIET’2014), pp. 1–5 (2014)

Hui, P., Ruifang, Z., Shanmei, L., Youxian, W., Lanlan, W.: Edge detection of growing citrus based on self-adaptive canny operator. In: 2011 International Conference on Computer Distributed Control and Intelligent Environmental Monitoring, pp. 342–345 (2011)

Yamamoto, K., Guo, W., Yoshioka, Y., Ninomiya, S.: On plant detection of intact tomato fruits using image analysis and machine learning methods. Open Access Sens. 14, 12191–12206 (2014)

Zhao, C., Lee, W.S., He, D.: Immature green citrus detection based on colour feature and sum of absolute transformed difference (SATD) using colour images in citrus grove. Comput. Electron. Agric. 124, 243–253 (2016)

Changyi, X., Lihua, Z., Minzan, L., Yuan, C., Chunyan, M.: Apple detection from apple tree image based on BP neural network and Hough transform. Int. J. Agric. Biol. Eng. 8, 46–53 (2015)

Acknowledgement

The authors would like to thank for the support given to this project by Ministry of Higher Education (MOHE) and Universiti Teknologi Malaysia (UTM), under GUP grant: Q.J130000.2523.13H57.

Author information

Authors and Affiliations

Faculty of Electrical Engineering, Universiti Teknologi Malaysia, 81310, Skudai, Johor, Malaysia

Muhammad Azmi Ahmed Nawawi & Fatimah Sham Ismail

You can also search for this author in PubMed Google Scholar

You can also search for this author in PubMed Google Scholar

Malibu C treatments

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If you want to remove your artificial hair color for whatever reason, then give the “Malibu C” range of products a try, and you may just find your newest favorite hair treatments in them.

Most professional long time hair dressers have heard of Malibu C, a haircare range which is among the few that really delivers on their promises.

And it happens that almost any of the sachets you use with any of the Malibu C products is capable of removing hair color.

So here is a review of some Malibu C hair products, I tried and liked and how to use them to Remove unwanted hair dye. These are all my own opinions that no one asked for, but that I would like to share with you.

Malibu C Crystal Gel

Malibu C crystal gel

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This product is for removing product build up, rather than color correction, yet given that hair dye is a build up of sorts, this could be and has been successful in removing some hair dye from peoples hair in the past.
It also leaves hair softer and healthier, just shampoo the product out at keast twice, to make sure all the crystals are gone, and then observe healthier hair on top of your head.

Ideal for, People who want to remove hair product and lightly lift hair color without using hydrogen peroxide.

Malibu Quick Fix

Makibu C quick fix pink sachet

Malibu C Quick Fix

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If someone has gone overzealous with hair toners, or you feel the hair color is patchy, and you’d like to color it again, while removing some product build up, then this product is the one to use.

It can remove almost 50% of the previous hair dye, depending on the hairs porosity. And like all the Malibu C range, it also leaves the hair quite soft.

Ideal for, removal of hair color toning disasters, to even out color, before another application.

Malibu C, CPR

Mlaibu C CPR (color pigment remover)

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This is the sachet to use, if you are planning on removing very dark hair dye.

It can lift up artificial hair color by up to 3 levels, and the best thing about it, is that you can do this with this Malibu sachet without using hydrogen peroxide, ensuring the integrity of the hair is left intact.

If anything Malibu C cpr, leaves hair in a better condition after its use. Also if a person wants their hair color lifted by more than 3 levels, using this first, minimises the amount of hydrogen peroxide needed for such a case. It does not work on lifting a person’s natural hair color however.

Ideal for, Removing hair color by up to 3 levels while maintaining its condition.

Malibu C DDL

Malibu C DDL color liftimg

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If you have used any of the crazy colors on your hair, and are now done with it, and want to leave your mermaid blues and greens back to your more natural browns and blondes, then use this to help lift some of these stubborn direct dyes out of your hair.

Unfortunately you do need to use a 20 volume Hydrogen Peroxide with this product to be able to remove these stubborn hair colors, and it usually fades out intensely, rather than completely removing it, upon a first use.

Ideal for, Fading out crazy fashion colors such as pravana or joico etc color etc

I hope bringing this product is of use to you in your future hair coloring adventures.

Avoiding editing mistakes is almost impossible without a good knowledge and understanding of what you’re doing. By now, you’ve probably seen several articles which make fun of pictures with really bad editing that somehow made it to the front page of a magazine, or got printed on a billboard somewhere. The reality is, pictures like that get published more often that you’d think.

This is due to the fact that editors often don’t pay much attention to the image when publishing it. That occurs mainly because they trust the photographer with his job and the added pressure of deadlines.

Photo by Aaron Tyree on 500px.com

Now, no matter how funny that is, it can happen to any of us. That kind of occurrence isn’t lack of skill, nor it is often intentional, however when it happens, it’s mostly due to lack of patience, energy, focus, or, you guessed it…pressure of deadlines.

Let’s look at some ways to help us all with our image editing process.

#1. Selecting And Masking

Selecting and masking for selective editing or changing backgrounds is the place where most mistakes are being made. This is usually the fault of the quick selection and masking tools in Adobe Photoshop which basically selects by color ranges and is usually mistaken.

The mistake on the user’s hand is that they rarely stop to double check if everything is okay.

Photo by Adam Wilson

You should be able to mask without using the quick selection tools, that way you’ll be sure that there aren’t any faults. I prefer to do masking using the pen tool, or using my pen tablet and doing some free-hand editing.

Once you’ve done enough masks, the process will be fairly simple therefore you’ll need less time.

#2. Extra Limbs

This might sound funny, but I’ve seen it way too many times and it is never funny. It’s sad really. This usually occurs when you are cutting out one person from a group of people and swapping out the background.

If the light is weird or the image is too messy, you can easily forget a limb from the other person in the original photo and make everything look really awkward.

Make no mistake, once the internet folks see it, they will rip you apart virtually. You don’t want bad reputation gained like that!

#3. Be Careful With The Liquify Tool

The famous liquify tool: the mother of weight loss in pictures, the father of fake biceps. However, 90% of the portrait photographers use it to correct (or create) facial features.

Oftentimes the angle makes things look weird, and a slight pull with the liquify tool can really change an image drastically without much disfigurement. However, it can be easily overdone quite often, and if you are working on the image for extended periods of time, you might get too subjective and fail to notice that you’ve overdone it.

That is why you should ask somebody who hasn’t seen the image if it looks realistic or not. Usually, my brother is the judge in scenarios like that, but it can really be anybody .

Photo by Eliza Tyrrell

#4. Realistic Corrections

Nowadays it is really easy to remove almost all imperfections. It usually takes a few clicks in a plugin or two and the skin will be smooth as a baby skin. But in real life, no skin is perfect, therefore ruining the texture in order to make everything as smooth as possible is pretty much the wrong way to go.

There are endless amounts of corrections and alterations you can do in post process, and 99% of those can be overdone and the result will be anything but realistic. The idea of post processing the image is to make it visually appealing while keeping the realistic look.

Therefore, when you are editing your images, the realistic look should come above anything else.

Get rid of those “one click fix” plugins and learn the processes by hand; that way you have complete control over every aspect of the post process – you can choose precisely where and how much an effect is applied, and in what way.

Are your making the most out of your RAW files? We have an amazing Photoshop Course (plus a 2+ hour free bonus course) to bring your skills out so that when tackling our more advanced concepts, you have your Photoshop basics nailed!

Summary

As with any other aspect of photography (and graphic design) post process can make or break an image. However if you fail in the post processing part, and your editor is too tired to notice that, the potential damage is huge.

Therefore, be extremely careful, triple check your image before sending it for print (or to your editor), or else risk humiliation and possibly losing your job.

If that mishap reaches the internet, it can become viral quickly – you don’t want that now. Just remember all those articles you’ve seen making fun of mishaps – and avoid becoming another one of those photographers.

I recently shot an event using just a standard Nikon D3200 with kit lens. Nothing special, but it did the job.

The only obstacle was that the event made heavy use of a strong purple lighting which while easily correctable at the start of the night quickly became difficult to work with as the venue darkened through the evening.

I’ve cleaned up the shots the best I can, but a lot of the skin tones are still heavily purple and even with cleaning up people still look a little strange (see below).

I wasn’t shooting using a flash, and I only had a simple UV filter on all night.

My question is as follows:

Is there anything I could’ve done at the event to prevent the purple tint?

Is there anything more I can do in Lightroom to reduce the purpling without leaving the people with a strange skin colour?

7 Answers 7

You need to adjust for the color temperature of the light source. Additionally. when the light source is of such a limited spectrum as appears to be the case here, you need to add more light that covers a wider portion of the visible spectrum. The relatively bright sky in the background fooled your camera’s Auto White Balance into thinking that is what needed to be the correct color, not the much dimmer part of the scene in the foreground.

Here’s the best I could do with the JPEG you uploaded as a starting point. If all of the information contained in a raw file were available, it could be corrected to a much better degree, but much of the information needed to fix the image was thrown away when the file was converted to JPEG either by your camera before saving the file or by you when you edited and converted the file later.

The problem with trying to change white balance with a JPEG is that you can only take away the parts of the color spectrum that you don’t want that are contained in the JPEG. You can’t add the parts that may have been in the raw data but were discarded in the conversion to JPEG and are not contained in the JPEG image. In the case of lighting that is very limited spectrum, such as appears to be the case with your purple light, you have to throw almost all of the light in the JPEG away to even get the color anywhere in the ballpark of realistic. That forces you to increase brightness to the point that almost all contrast is lost. Increase the contrast and all of the dark areas of the picture start going very dark again.

Here’s an example I shot a while back of a band performing under limited spectrum LED lighting. The first shot is with Auto White Balance and standard Portrait picture style settings. If I had shot this as a jpeg in camera, this is what it would have looked like.

And here is what I was able to do using a raw editor. Notice that I didn’t have to give up contrast and saturation to make a fairly significant correction to the white balance because not only was I removing information contained in the first jpeg that I didn’t want, but I was also able to replace information I did need that was contained in the raw data but was not used in the creation of the original jpeg!

If you’ve never used a raw editor to adjust white balance before, look here. The instructions are for Adobe Camera Raw from within Photoshop, but Lightroom is very similar. And here’s a video that covers both Lr and PS.

How to remove calcium buildup in pool

Calcium is the most complex and difficult of all the pool stain issues we treat because calcium forms in a pool for a variety of reasons. Most commonly, calcium appears because pool owners often have difficulty keeping their pH in balance – particularly when their pool is new. High pH is a major reason for calcium formation and calcium growth.

Calcium spots can also form due to poor pool interior application when the pool surface is being applied to a new or renovated pool. This poor application can leave air bubbles or voids in the concrete finish. These voids soon fill with water which then calcifies. Then, as the calcium in the void continues to expand over time, it pushes the calcium out through the interior and forms a calcium buildup. This is referred to as a calcium nodule. Calcium can also enter the pool through fine cracks in the pool plaster that release calcium.

Modern calcium rich pool interiors use white cement

On the other hand, many light colored pool surfaces now use white cement instead of traditional grey cement to achieve the desired color. This white cement contains around 36% calcium hydroxide which contributes to the challenge of managing calcium. This white cement can cause a thin layer of calcium to appear which continues to grow. This build-up will attract more calcium to it over time. Eventually, the calcium will become bigger and sometimes harder than the concrete pool surface!

If you have a calcium build up in your pool we strongly recommend you do something about it soon. Calcium that is left untreated can lift, crack and break up your cement pool surface over time causing serious and costly damage to your pool. Sadly we often inspect pool surfaces that are almost completely destroyed by several hundred large calcium spots that have been left to grow. Our treatments can help prevent this from happening to your pool.

If you have a calcium buildup in a fiberglass pool, we have a page dedicated to removing calcium from fiberglass pool surfaces here.

Thursday, May 1, 2014

HEAVEN

For my final project I wanted to incorporate my job as a bar owner into the images. I love the amazing and creative artwork that is done on the labeling of wine bottles and beer cartons so I went to Liquor Barn and started photographing. I came up with the idea of contrasting earth, heaven and health to answer the question of where we might go when we die. For my Earth composite, I combined layers of a beer carton of mountains, an image of the earth, a wine bottle and my grandparents’ gravestone. I added type and evened out the color to give the image an overall yellowish hue.

For my heaven composite, I wanted to create an ethereal airy feel. I added layers of the sky, angels, beer cartons and a white wine bottle. I boosted the vibrance, blended the layers with outer glows and then lightened the image to give it luminosity and then finished it off by painting a halo on top of the wine bottle.

In my last image of hell, I shoos to make it dark and evil looking. I layered a black and red beer carton, wine bottle, a fire and a devil’s pitchfork. I used the color balance adjustment to the wine bottle to make it a reddish color and added a reddish outer glow. I also blended the pitchfork and then erased all the layers from the black and white devil in the middle to make it stand out.

I really enjoyed this final project as it involved more layers and tools than I had ever used previously and I hope that it demonstrates all the different tools and adjustments I have learned throughout this class. I really feel like a have a good grasp on Photoshop now and plan to go ahead and purchase it so that I can keep using it for certain advertising elements that I use as a business owner and for personal pictures that I love to alter and edit.

Friday, April 18, 2014

WORD: ETHEREAL
SYNONYM: AIRY
ANTONYM: HEAVY

I chose word “ethereal” unfortunately before I saw that a previous student had used it in one of her examples but I went ahead and used it because I had already taken the photos and because of all the wonderful connotations it brings to mind.

Airy

For my Airy photo, I had my husband wave one of my scarfs in the air so the first thing I had to do was eliminate his arm from the photo. I did this with the quick selection tool and then used the Fill button with content aware to erase his arm. Unfortunately, it added some floating trees and left an outline of his arm in the picture. I flattened the image and then used the Patch tool that we learned this week to replace the floating trees with sky and get rid of the ghostly outline. I then went to Filters and the render button and added a lens flare to the scarf to make it look like the sun was behind it. I then added the type as instructed but I had to add four different type layers because I was unsure of how to bend the word “airy” so I just did it one text layer at a time. I added text effects to all the letters to make them stand out a little more. Finally, I added a vibrance layer to boost the beautiful colors in this image.

For my heavy image, I used a picture of a rock on a cement wall. The original image had grass in the background but I replaced that with a texture image of a closeup of the pebbles in the cement in my front walkway by quick selecting the background and then adding this new Hard Light layer over it. I added a Chalk & Charcoal filter to the background pebbles to make them stand out. I then put two more rocks on top of the original one by duplicating the layers with the quick selection tool. Next, I added a Halftone Pattern Filter to all three of the rocks to change their texture, lighten them and separate them from the background. I then added the text “Heavy” with effects to the type so it would be visible on the rock. I then added old images of weightlifters as overlay to the cement wall and put a soft light layer of a kettle bell image on the rocks to signify weight. Lastly, I added a Hue/Saturation layer to desaturate the photo and remove almost all of the color to give the image a starker and more contrasted feel.

My surreal images are late being posted because my computer crashed and I lost everything so I had to start over. I was able to use images that I took at Thunder Over Louisville and transform them into surreal landscapes. I wish I could draw better, but I am terrible so my pathetic renderings will just have to do.

Thursday, April 4, 2013

“Dr” Stuart Robbins & James Oberg

James Oberg has been a guest on Coast, and he’s a paid agent of disinformation, contracted by the DoD. “Dr” Stuart Robbins is nothing butt a ghost.

Monday, March 18, 2013

FBI arrests NASA contractor employee trying to flee to China

Richard Pollock

Watchdog Team

Bo Jiang, the Chinese national scientist employed by a NASA contractor for work at the space agency’s Langley Research Center, was arrested Sunday by the FBI at Dulles International Airport as he tried to flee to China, according to Rep. Frank Wolf, R-VA.

Wolf said during a Capitol Hill news conference today that Jiang’s work at the NASA facility had given him access to information that “would be of the greatest interest to foreign spies, including China.”
Wolf is chairman of a House Appropriations Committee subcommittee that has budget oversight authority for NASA.

He made Jiang’s name public for the first time last week during a subcommittee hearing where he also charged that Jiang had taken “voluminous sensitive” NASA documents back to China on a trip in 2012.
Jiang was employed by the National Institute of Aerospace, a Hampton, VA-based NASA contractor. The position afforded Jiang virtually unlimited, unescorted access to the NASA Langley facility, which is the location for classified research programs related to U.S. space defense technologies.

Thursday, February 7, 2013

Proving His Pointy Little Head

It makes no difference since Hoagland was scanning fraudulent images from NASA to begin with.

Just how could a Hasselblad photographic film camera be adequately insulated internally to function in sub zero temperatures of Outer Space, or is the temperature on the Moon, above freezing? NASA of course would have us believe the pictures of the cameras fastened to the exterior of the astronauts Space suits.

Wednesday, February 6, 2013

Photographic Film Cameras Don’t Function in Sub Zero Temperatures

It sure is curious how when anyone points out the fact that camera’s couldn’t have worked on the Moon, somebody always pipes up and says: “Yes they do, and there is proof. Go look for it.” However, nobody can ever cite any specific evidence to support such bullshit.

Leica used to offer a camera cozy to keep a camera body warm in cold weather, but even that wouldn’t prevent a mechanical camera from seizure in freezing temperatures. There is no way that the Hasselblads supposedly used by the astronauts could have been adequately insulated internally. Even the film would have crumbled to bits in the freezing cold of Outer Space. The only way that those cameras could have functioned properly on the Moon, would be if they were enclosed in something similar to a Space suit, or if the climate on the Moon were actually above freezing.

There’s no one right way to organize your wardrobe. Hours of watching shows like The Home Edit, Tidying Up With Marie Kondo, and even Hoarders are proof of that. Rather, closet organization comes in many different forms that cater to different lifestyles and categorization preferences. For some, that means grouping items together by garment type (long-sleeves vs. short-sleeves, skirts vs pants, etc.), while others divide their closet into seasonal sections. There are also a handful of color coordinated closet ideas to try, too, and yes, they’re just as structured as they are aesthetically pleasing.

I’ve actually gotten into the habit of color coordinating my own closet at the start of every season. Admittedly, it doesn’t stay that way for very long, but it does give me an idea of what shades I favor and lack in my wardrobe (information that comes in handy when I’m shopping). Personally, I tend to stick with the classic ROYGBIV method, but a traditional rainbow arrangement isn’t for everyone, so I reached out to a few organizational experts to map out some alternative methods to color coordinate your closet.

Neutralize Your Hangers

You want your clothes to be the focus of your closet, not the miss-matching hangers holding them up, which is why certified interior decorator at Inspired Home Interiors, Pattie Kelly tells InStyle the first step to color-coordinating is to rid your wardrobe of clashing hangers.

“Move everything onto a white or beige velvet hanger, and this includes pants that can hang using clips,” Kelly says. “Creating a blank canvas like this allows the clothing to take center stage when color coordinating.”

Or, Color Coordinate Your Hangers

I realize this tip contradicts the last, but professional organizer Stacey Agin Murray swears by this method that involves purchasing different colored hangers for different categories of clothing in your wardrobe.

“For example, use beige for pants, blue for tops, and pink for dresses, or use beige for work clothes, blue for activewear, and pink for cocktail dresses,” Agin Murray says. “Or, for fans of clear crystal hangers, tie a colored ribbon around the hook of the hanger or place a colored label in a noticeable spot on the hanger.”

This type of color coordination acts as a kind of labeling system, so you know what type of clothing goes with a specific hanger or ribbon color.

Select a Neutral Palette of Storage Bins and Organizers

Even if you’re pro color, The Container Store’s divisional merchandise director, Lauren Hill recommends keeping your storage solutions, like bins and baskets, neutral as adding more color and dark hues to your space can make it feel more enclosed.

Remember, heat is also a technique used to remove finish and veneer.

Set the hair dryer on medium heat and hold it three to six inches away from the white heat stain to begin with. As you apply heat to the furniture, use a soft cotton cloth to buff away the mark. Be sure not to get too close and blister the finish. The process can take from five to twenty minutes. Continue wiping until the surface is blemish-free.

Using an iron to remove heat and water rings on furniture

1. Turn your iron on, adjusting its heat setting to medium. Turn off the iron’s steam switch, if applicable, to ensure that the iron remains dry. Wait for several minutes to allow the iron to heat up completely.
2. Place a clean, dry cotton cloth over the water ring on the wood furniture surface. Set the iron down on top of the cloth, centering it over the ring stain. Press the iron down and begin moving the iron in circular motions. I always suggest to keep the iron moving. Within 3-5 seconds, remove the iron.
3. Remove the iron from the piece of furniture and lift the cloth from the surface. Check the surface to see if the white ring remains visible. Replace the cloth and reapply the iron in the same manner to the furniture as before. Repeat this process as needed until the white heat or water stain disappears.

Rezanje predmeta iz bijele pozadine može biti bol. Photoshop-ovi automatizirani alati daju neujednačene rezultate u velikom broju slučajeva. Međutim, mi imamo tehniku ​​koja, iako nije savršena, daje izvrsne rezultate više od 90% vremena. Još važnije, lijepo je i brzo.

Postavljanje dokumenta

Otvorite sliku iz koje želite ukloniti bijelu pozadinu u Photoshopu. Koristim ovu fotografiju proizvoda za sat Tissot Le Locle koji je bio naša sestrinska stranica, Pregled Geek-a, odabir najboljeg automatskog sata za gledanje zlata.

Dvaput kliknite na sloj Pozadina da biste ga otključali.

Zatim idite na Layer> Duplicate Layer, a zatim kliknite “OK” ili koristite tipkovnički prečac Control-J (Command-J na Macu).

Kliknite na malu ikonu oka kako biste isključili vidljivost za gornji sloj, u mom slučaju to je “Layer 0 Copy” i sve je postavljeno.

Neobavezan korak je dodavanje obojene pozadine kako bi se stvari lakše vidjele. Učinit ću to samo da bi slike zaslona bile jasnije.

Idite na Layer> New Fill Layer> Solid Color, kliknite “OK”, a zatim odaberite lijepu svijetle boje. Idem s ovim ružičastim.

Povucite Fill Layer na dno sloja sloja, tako da je ispod svega i spremni ste za pokret.

Izrada nacrta

Prvi korak je riješiti se svih bijelih na slici. Da bismo to učinili, koristit ćemo Blend If, jednu od naprednijih značajki Photoshopa. Samo slijedite upute i bit ćete dobro.

Dvaput kliknite na izvorni sloj (Layer 0 u našem primjeru), da biste otvorili dijaloški okvir Layer Styles.

Jedina stvar za koju smo ovdje zainteresirani je klizač Blend If.

Kliknite na bijelu strelicu s desne strane gornjeg klizača – “Ovaj sloj” – i povucite je ulijevo. Odmah će mnogo bijelih nestati.

Ovo je očito gruba korekcija, tako da moramo koristiti malo više finesa. Povucite strelicu dok ne nađete samo tanki bijeli rub oko objekta koji izrežete. Ne brinite o tome da se na njemu pojavi ružičasta boja, to ćemo popraviti u sljedećem koraku.

Zatim držite pritisnutu tipku Alt ili Option, kliknite strelicu i nastavite povlačiti ulijevo. To će podijeliti strelicu.

Igrajte se s razdijeljenim strelicama sve dok čak ni tanki bijeli rub ne nestane. Opet, ne brinite o tome kako stvari izgledaju unutar objekta.

Kada ste sretni što je gotovo sva bijela boja uklonjena iz pozadine, kliknite U redu. Evo kako sada izgleda sat. Bijela je nestala iz pozadine, ali središte straže je prilično ružičasto.

Maskiranje u sredini

Odaberite sloj koji ste duplicirali na početku i ponovno uključite vidljivost klikom na okvir u kojem je bila ikona oka.

Zatim idite na Layer> Layer Mask> Hide All. Na sloj će se dodati crna maska ​​sloja.

Ako ste zbunjeni o maskama slojeva, pogledajte naš potpuni vodič. Osnove su da svaka crna na sloju maske prikriva, dok se bilo koja bijela na sloju maske otkriva. Budući da smo dodali potpuno crnu masku, duplicirani sloj je sada skriven, ali možemo obojiti bijelu masku pomoću alata Brush (ili bilo kojeg drugog alata koji vam se sviđa) da biste otkrili stvari. Ovako ćemo popraviti unutrašnjost objekta.

Odaberite alat Četka (tipkovnički prečac je B). Uvjerite se da je tvrdoća postavljena na oko 80% i da su neprozirnost i protok 100%. Također pritisnite D za resetiranje kista na zadane boje; to znači da ćemo automatski slikati bijelom bojom.

Promijenite veličinu četke pomoću [i] tipki, a zatim samo počnite slikati na bilo kojem dijelu unutrašnjosti koji je ružičasti. Budući da već imamo dobar pregled, možete biti prilično teški s tim stvarima u sredini. Učinite da četkica bude manja i manja dok se približavate rubovima tako da ne zalutate preko crta. Ako pogriješite, pritisnite X da biste se prebacili na crno-boju i obojili mjesto na kojem ste zabrljali; ponovno pritisnite X da biste se vratili na bijelo.

Kada završite, trebali biste imati nešto što izgleda ovako.

Postavite pozadinu na sve što želite, a zatim spremite sliku. Ako želite zadržati pozadinu transparentnom, provjerite jeste li je spremili kao PNG datoteku.

Dovršavanje

Ovo je brza i prljava metoda, ali radi. Možete potrošiti više vremena i koristiti neke od više tehničkih alata Photoshopa kako biste stvorili neznatno bolje maske, ali to se rijetko isplati.

Ova metoda nije savršena. Namjerno sam izabrao predmet koji je pomalo težak za demonstraciju. Stvari koje su bliske bijeloj boji ili sjajne oko rubova poput sata zahtijevaju više brige da bi se ispravile. Ako nešto izrezujete tvrdim crnim rubovima, to možete učiniti za nekoliko sekundi.