The Edge That Kills Your Composite: How to Actually Master Masking in Photoshop

When the Edge Gives You Away I was three weeks into a book cover project, a fantasy piece with a warrior standing in a storm-lit field, and the client loved it. Art director approved it. It went to print. And I still couldn’t stop staring at the edge of her hair. It was fine. Technically fine. But I knew what I’d done. I’d used a quick Select and Mask pass, tidied up the fringe with Refine Edge Brush, and called it done because the deadline was breathing down my neck.