Any edges that you want the plugin to compute, like hair or, in my case, tentacles, get the blue brush. The basic workflow in ReMask is to paint over the parts of a photo that you want to keep with the green brush and the parts you want to cut out with the red brush. So I picked a pretty simple photo to get started and try it out. Of course, the obvious use for masking selections is to make composites.

I watched this quick 13-minute tutorial to get started, and then decided to run with it. But I love to be proved wrong, and so it was to my pleasant surprise that using ReMask actually was as simple as the website claimed.

The marketers write up ReMask as being 'as easy as digital scissors,' but if you've ever struggled with Photoshop's selection and masking tools, you know that 'digital scissors' are anything but easy to use, so I was admittedly pretty skeptical. I've worked with Topaz Detail and Topaz Clean in the past, and both plugins have yielded impressive results, but I think ReMask is my favorite and the most useful so far. But what does it do? Read on to find out. Every time I use a Topaz plugin, I'm blown away at how the Topaz developers manage to pack in features and precise controls while still maintaining the simplicity and ease of use the plugins are famous for. I really just love the people over at Topaz Labs. The Easiest Way to Fix Ambient Light Underwater Photos: A Topaz ReMask Review

Topaz remask 3 review