Select and Mask is a big subject. It's a mini program within Photoshop and has its own toolbar. There are many tools in Photoshop to make selections and cut out objects. Select and Mask is a workspace that will help you make or improve these selections. In Select and Mask you can make a selection from scratch, refine an existing selection, or layer mask.
Select and Mask is probably best known for improving selections of hair, fur and soft edges, but it will also help improve other selections, including smooth edges.
There are many features and controls for refining a selection, or a Layer Mask. There are also some familiar selection tools included in the workspace, such as the Quick Selection Tool, Object Selection Tool and the Lasso Tool. There are also the Brush Tool, Hand Tool and Zoom Tool. These are the same tools that are found on the Toolbar and they work in the same way.
For a full summary of selection tools and other tools used in creating selections, see Selection Tools Summary.
You can access Select and Mask from the Select menu, or from any selection tool, by clicking the Select and Mask button on the Options bar.
You can also use an older version of Select and Mask (prior to 2015), which was called Refine Edge or Refine Mask, depending on whether you were refining a selection or a Layer Mask. To access the older version, hold down the Shift key, while clicking on Select and Mask in the Select menu. The older version doesn't have the selection tools (they are available on the Toolbar) and also doesn't have a few of the options.
Select and Mask is such a big subject, that before we look at how to use it, let's look at the workspace and its many different features and options. Below is the complete Select and Mask workspace on a large screen. Below I will look at each area indicated, in detail.
Choose Select and Mask from the Select menu, or click on the "Select and Mask" button, which you will see on the Options bar of every selection tool.
This opens a new workspace window, with a toolbar on the left and a panel with options, on the right.
If you have a smaller screen, you can save space by closing each of the individual sections in the right panel: Refine Mode, Edge Detection, Global Refinements, Output Settings.
The Toolbar on the left contains a few tools that you may find useful. They include tools that are already on the main Toolbar; Quick Selection Tool, Brush Tool, Object Selection Tool, Lasso Tool, Polygonal Lasso Tool, Hand Tool, Zoom Tool.
As with the main Toolbar, you can choose either a one column Toolbar or a two column Toolbar.
To switch between a one or two column toolbar, click on the double chevron at the top of the toolbar.
At the top of the panel on the right, you have several options.
Show Edge This will show you the width of the Edge, if you drag the Radius Slider (under Edge Detection). This is shown above (blue background), with Smart Radius turned on, so the width of the Edge varies according to the content.
Show Original This will show you the original image, without any effect from the Select and Mask options.
Real Time Refinement This will take some processing power, so if your device experiences a delay, or lag, then consider turning this off. If there isn't a delay, turn it on and leave it on.
High Quality Preview As with the previous option, this will take some processing power, so if your device experiences a delay, or lag, then consider turning this off. If it doesn't then turn it on and leave it on.
View This contains various options for how you view your image during the Select and Mask process. There is a lot to consider, so we will look at this in more detail, below.
You have several options for viewing your image while you work in Select and Mask.
Onion Skin: The Transparency slider allows you to view the selection from 0-100%, against any layers in your image.
Marching Ants: View your selection as Marching Ants.
Overlay: View your selection against a colored overlay. Like the Onion Skin, you can vary the opacity to view the selection from 0-100%. By using a color that is not in your image, you can see flaws in the selection, clearly.
On Black: View your selection against black.
On White: View your selection against white.
Black & White: View your selection as black and white, like a layer mask.
On Layers: View your selection against any layers in your image.
These are all useful. The one I use the most is Overlay, with different colors, which shows clearly small flaws. Black and white is also good at showing small flaws.
Press F to cycle through the views and press X to turn views off and on.
You can save various settings in Select and Mask, that you have created, to a preset. Then when you load the preset, all of those settings will be loaded.
If you tick the box to Remember Settings, next time you use Select and Mask, it will start with the same settings.
If you tick the box to Remember Settings, next time you use Select and Mask, it will start with the same settings.
Choosing which Refine Mode to use can make a difference to the selection.
Color Aware: This mode is for simple backgrounds, e.g. a single color, or where there is a good contrast between subject and background.
Object Aware: This mode will probably be more effective on hair or fur on more complex backgrounds.
In the example, below, of the meerkat, it makes a difference, using either mode. Try both and see which is better.
The Radius adjusts the thickness of the area around the selection where the tool will look to refine the edge. Use a small radius for sharp edges, but use a larger radius for soft edges, hair or fur.
Smart Radius attempts to detect where to adjust the radius, depending on the subject. So it should apply a small radius to sharp edges and larger radius for soft edges, hair or fur, within the same selection.
I have found that sometimes Smart Radius improves the selection, but at other times, it makes it worse. Experiment, by turning it on and off to see which is better.
You can also see the actual radius by ticking the box to Show Edge . This setting is at the top of the panel on the right and is covered above in View Mode.
Smooth: This creates a smoother outline, by reducing irregular areas.
Feather: This blurs, or softens, the selection.
Contrast: Increasing contrast will make soft-edge selections more abrupt.
Shift Edge: This moves the selection outline inwards (negative value) or outwards (positive value). Shifting inwards can help remove unwanted backgrounds.
Clear Selection: This will clear the existing selection. You can then start again by clicking Select Subject.
Invert: This inverts the selection or layer mask.
Decontaminate Colors: This replaces color fringes around the edges, with the color of fully selected pixels nearby. I've found this to improve the overall look, most of the time, but not always. If selected, it will require outputting to a new layer or document.
When you complete refining your selection or mask, you can choose what to Output To. They are all self-explanatory.
Selection:
Layer Mask:
New Layer:
New Layer with Layer Mask:
New Document:
New Document with Layer Mask:
If you Decontaminate, you will need to output to a new layer or document. I mostly output to a new layer with layer mask.
Different images require different approaches. The most common use of Select and Mask is to improve selections (or layer masks), of hair, fur and soft edges. There isn't a recipe that will apply to all images, but below is a guide for dealing with many images.
Experience of working on different types of images will improve your skills. It will also improve your skills to try different approaches on the same image. This is an excellent method of accelerating your learning. Have one or a few images that you always test out different approaches on. You will get very familiar with these images and will learn what is possible and what isn't. They can be your benchmark to test a new Photoshop feature on. You can then see whether a new feature really does do something better.
You can use Select and Mask in different ways;
Within Select and Mask you have a few selection tools, but the two key tools are; Quick Selection Tool and the Object Selection Tool. You don't have the Magic Wand, Color Range, or Pen Tools (not actual selection tools, but can be useful for creating selections).
You also have options for the method you use to refine your selection or mask;
This is an easy image to achieve a good selection. The meerkat is in focus and the background is out of focus. There is also good contrast between the meerkat and the background. Images like this make the best candidates for good selections.
Select the Object Selection Tool from the Toolbar.
When you move the cursor over an object, it will highlight in pink. If the Object Selection tool does not find your object, or select it accurately, click and drag to draw a rectangle around your object. Or use another selection tool, such as the Quick Selection tool.
In this image, it's an easy selection.
Your object will then be selected, as indicated by the "marching ants".
This is how the image looks when a layer mask is added.
Click on the Select and Mask button on the Options bar. All selection tools have this button.
Select a view option. I have selected Overlay.
The default overlay is a 50% opaque red.
The important thing with any option you choose, is that you can see very clearly what is being included and excluded as you adjust the settings, so you can adjust them to achieve the best result.
In this image, red is a good color because there is no red in the image. However, in the next few steps I will increase the opacity of the Overlay color and also change the color. Different colors can sometimes allow you to see things more clearly. But don't choose a color that is in the image, as it could hide issues.
The image now has the 50% opaque, default Overlay.
I prefer to have the Overlay 100% opaque, so I see the outline more clearly. I will change this in the next step.
Drag the Overlay Opacity slider to 100%.
Now the Overlay is 100% opaque it shows that the selection around the edges is not as good as it looked in the last step.
When you use Overlay view, it's important that the Overlay color is not a color that's in the image. If it is, and a part of the subject was selected where it shouldn't be, it could be difficult to spot and it might be missed. Of course, you can double check this, by switching to a different View, such as Black and White, as I've done below.
It's not necessary in this image to change Overlay color, but to illustrate how easy it is to change, just click in the color overlay box to open the Color Picker.
Select a new color and click OK.
In this image, it isn't necessary to change the overlay color, but sometimes it is. So I'm including this step here, so you know how to change the overlay color, when it's beneficial (if that's the option you choose to view).
For more details see Color Picker.
The meerkat has black in his face and nose, so I would not normally use the On Black View option, as you can easily miss important detail.
I'm using On Black here, to illustrate the issue.
The selection around his head looks perfect against the black. However, see the next step, which shows exactly the same selection against a bright pink overlay.
The pink overlay clearly shows that there is some transparency in his nose, which wasn't visible against the black.
I've now switched to the Black and White View option, which replicates a layer mask. This also clearly shows the transparency in his nose.
I have deliberately created this transparency to illustrate the issue. So choose your View option with care and avoid it having a colour that is present in the image. For this reason, I tend to use these colors, such as bright pink, bright blue and bright green (but only when they are not present in the image.
To remove an area, select the Restores Original Edge button, indicated by the - (minus) sign.
Or use the keyboard shortcut - press and hold the Alt key and paint with the Refine Edge Brush. Note the - (minus) sign in the brush, indicating Restores Original Edge.
Brush over the whole area to restore, including the edge. You don't need to be careful around the edge.
Sometimes when the Overlay is a different color, it shows the selection up in a clearer way.
Try different colors and shades of colors, to see how a selection shows up against it.
If you have hair or fur in the image it's worth trying the Refine Hair button. If it doesn't do a good job, you can undo and try another tool. In this case, it's done a good job.
Where you have good contrast between the subject and background and also a difference in focus, the images should yield good results and often quite easily.
Images with backgrounds in focus and a more complex content, especially if colors and tones are similar (and touching) to the subject, will be more difficult.
When you apply Refine Hair, or other adjustments, your results may be affected by which Refine Mode you choose; Color Aware, or Object Aware. I suggest trying both. In this image, there is a slight difference between them, with Object Aware providing the better result. See below for examples.
When you switch between Color Aware or Object Aware you will see this notice.
Click OK. If you don't want to see this notice again, tick the box to Don't Show Again, before clicking OK.
Select Color Aware or Object Aware before applying Refine Hair. See the previous step.
Then click on Refine Hair.
I have applied Refine Hair with Color Aware selected.
There is a faint area a the left edge of the meerkat, that is not perfect. See the close-ups in the next two steps, to see this more clearly.
Here is a close-up, showing the faint area of blue, showing through the left edge of the meerkat. You should choose a View Option to show areas like this, that are not perfect. Also, see the next step to view in black and white.
The black and white view option is the same as you would see in a layer mask and this can often show details more clearly. White areas are visible, while black areas are masked, or hidden. Any gray areas are partially visible/hidden.
At the left edge of the meerkat there is a strip of light gray, where it should be mostly white.
I have undone the previous step and this time I have selected Object Aware, then re-applied Refine Hair.
This time is has made a better selection, especially at the left edge of the meerkat, that was a problem in the previous steps.
Again, to double check this, change the View Option to black and white.
I have switched the view to Black and White, which is the same as a layer mask. White reveals, black hide. This very clearly shows that there is no area within the meerkat that has been selected. There is
Decontaminate Colors can have a very positive impact on a selection or mask and many times it will improve it. Sometimes however, it doesn't, or even makes it worse.
If you are adjusting an object, without changing the background, or replace the background with something that is similar in color and tone to the original, you probably won't need to do this. But if you are
This is an easy image to achieve a good selection. The meerkat is in focus and the background is out of focus. There is also good contrast between the meerkat and the background. Images like this make the best candidates for good selections.
If you click on Show Edge (top of the panel), you will see a preview of the edge, while you adjust the Radius slider. This shows a very thin edge, at 9px.
In this image it's not enough. It's not enough for the longest fur.
This shows the thickest edge, with the Radius slider all the way to the right, at 250px.
In this image, it's too much. It's more than the longest fur.
I have adjusted the Radius slider to 76px.
This is the setting from the previous step, 76px. I've chosen this setting, while viewing Show Edge, as shown here, to clearly see the effect my adjustments are having. The Radius is large enough to include the longest fur, on the meerkat's front and back.
This is the same setting as the previous step, 76px, but I have turned on the Smart Radius.
The Radius then adapts. Where the fur is shortest, the radius is smaller and where the fur is longest, the radius is larger.
I have experienced times when turning on Smart Radius actually degrades the quality of the selection, so try it, but keep an eye on your image. Compare it with and without the Smart Radius.
In this image, Smart Radius has done a good job.
I have turned on Decontaminate Colors and that has improved the fur.
Another option is just to use the Refine Edge Brush. Just brush over an edge and it will automatically improve it, where there is hair, fur or a soft edge.
You can use just the brush on its own, or in conjunction with the Refine Edge slider, or after clicking the Refine Hair button.