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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 35 of 115

Content Aware Fill

 

Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 35 of 115

Content Aware Fill

 

Lesson Info

Content Aware Fill

Now, this image is not a Photoshopped document until it saves. It is such Andi. So it saved it and then opened it. If you were to go into your file browser and you were to open up a raw image directly from the file browser, the file browser would open it inside of camera Raw, which is the raw editor that's inside of Photoshopped. And once it's opened, then it would It would show you that can't raw editor, and you would be editing in raw inside a photo shop. But on Lee, when your in camera raw once you hit open the document and it shows up inside of Photoshopped this way, at that point, you're dealing with a raw image, and so you need to Yeah, I mean, a Photoshopped image. You're not dealing with the raw image, so you need to treat it as such. And Onley do the things that you absolutely have to here inside of photo shop. That's why we do everything we can inside of light room before we get here. Okay, so I want to go in and zoom in. I want to see how much Aiken do here with these people...

right here. I want to get rid of them. So what I'm going to do is I'm going to go in and try and select these people, and I kind of want to select him in groups. So I'm just gonna I don't have to be super great about my selection. Um, so I'm just going to try and select these people first. And now I'm going to go up to the edit menu, and I'm going to go to a tool called content Aware Fill, click on content Aware Fill and Boom. You can see that that did a much better job, and it did it really quickly. So what it does is it shows you this over here is the area where it's it's selecting from, and you can see the green area here. And so if if I if I get weird results, I can always tell it. Well, I don't want you to select any of these people so you can't select from anywhere around there. So the green is where it's allowing Photoshopped to use in order to copy and paste over the top of them. So I don't want it to use anything around here. I don't want it to use anything up here. I don't want it to use any of these shadow there. They're So now they're removed. You can see that there's an issue right here where it's copying. But that's OK, because weaken, weaken, weaken. Deal with that later. Um, so now I'm gonna hit OK, And I can choose whether I wanted to add it to the current layer or make a new layer. So I'm just gonna add it to the current layer. Because if I add it to a new layer that I just have to keep sandwiching the layers together so added to a current layer. If you're if you're worried about Oh, I need it. Well, actually, here, this is a good idea. Let's go to a new layer and we're gonna add it to a new layer and hit OK, so you can see what that's like. Now you see that it's done all the copying and pasting, but it's in a new layer like that. So then if you wanted to go in, let's de select that. If you wanted to go in to do any kind of masking, So if you make a mask. The mask is down here. That little circular square thing right there is a mask. That's the mask button. If I click on mask, it's going to add a mask over the top of it and on a mask. For those of you don't know what a mask is. It's just a, um, a white sheet that if you color it black, it creates a hole in the mask are in the and it's almost like you're layering over some kind of, ah, two papers and you're cutting through to it. So white means that the layer is going to show. And if you paint that mask black. So if you if you go over and create a brush and you paint that with black. So I've got black is my color, then you can come in and you can you can paint that layer. Um, and I've got to change my opacity up to 100%. See, I can paint that layer back out, so that mask allows you to go in and unpainted that area that it just, uh, when it made those weird shadows. You can just go in and paint that out and then I'm in it. And then if I hit the X key, it changes these two colors between white and black. So now if I paint with white, I can paint these ladies back in or back out. Rather. So now I have a little bit less to deal with later on. And those will be easy edits to deal with just with a with the stamp tool. So now that I've got what I like, what it looks like so far, I just highlight both and hit command e and that sandwiches, um together so that I can make another edit. So I can also come in in Photoshop, which is a lot easier and go in with the stamp tool and with stamp tool. I can simply choose an area here by hitting the option Key and Aiken extend those shadows. And because I have a little bit more control here inside of Photoshopped, I can keep choosing the right angle to deal with these people. And it's a lot easier to deal with this inside of Photoshopped than it is to deal with the inside of light room, and that's why we're doing this here instead of in light room, just a matter of choosing the right tool for the right job. And in our case, light room is not the right tool to remove difficult little tiny segments of people. So I'm just going through and grabbing those people in removing him. Here's more people that I got to get rid of, but these people might actually be easier to get rid of with the content aware fill. So I'm just going to go in and edit out these people because they're close to that statue. I kind of copy that lady there ago. Hopes always have command Z at your call, just in case you mess up. There we go and a little bit more, and we'll be done with this lady groups Command Z. The real trick is to get it perfectly aligned so that you actually have a straight line. Now we're really, you know, quite zoomed in here. And so once we zoom out, a lot of this stuff will go away. But there's one thing that you'll notice right here. Is that that there's a line that I've created, And so if you just take your opacity, appear down to about 50% on. Then just take a little bit of this darkness and start going this way with it. You can just kind of fade things back in like this so that it's not so obvious what you've done and then zoom out. And now I have no people in there, and I could do the same thing back there, but I just wanted to show you the idea of using different tools inside of, uh, photo shop in order to accommodate more specific issues. So if I needed to come in and edit these people down here, they're actually right in the middle of all of these pillars. Those are gonna be a little bit more complicated. So it's important to choose the right pillars. Simply grab so you can see that there's you would complete this pillar. Um, so you want to choose this pillar here and click it and then come over to this pillar where and add it where that pillar should be, and then make sure that my capacity is at 100% and then just start painting back in that pillar and you can see that we are able to match it that's pretty good. So that does a good job. You can also do a little selection around a person. This person will be pretty easy to remove with content aware fill. So I'm gonna edit content aware fill, and it's going to try and intelligently choose where to grab from. But notice that it's allowing its It's creating another person over there. So again you could just say, I don't want you to select a person, and it's starting to then manipulate itself a little bit better. I don't want you to use any of this stuff up here. You see how it once it knows what it can't and can use. It does a much better job editing the photograph, and so with that, there's almost no reason that's close enough. No one's ever going to see that, because that's what it really looks like. So you can go through these images and then once you're done, once you've finished your edits in Photoshop, just simply kick command W for clothes. It's gonna ask you if you want to save it, you say yes, and once you've saved it, it's going to return it back toe, light room. It's gonna close it here inside of photo shop, and it returns it back to light room. And then here you have the new photo shop at it and you have the original, the new one, the original new one original. And in the end, they actually let me just show you what it looked like in the end because I went through and did that process toe all of them. And so this is what that image looks like, completed and finished. You can see that everybody's removed from that background, and we've got the lonely guy walking down that pathway.

Class Description

All lessons are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Efficiently cull and retouch photographs
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Create impressive photo books and slideshows
  • Take advantage of global adjustments
  • Improve your mobile workflow with both your iPhone and iPad
  • Deliver and share your images directly from Lightroom

ABOUT JARED’S CLASS:

Adobe® Lightroom® is the industry standard for post-production workflow and in Adobe Lightroom: The Ultimate Guide, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

Jared will show the ins and outs of Lightroom Classic, Lightroom Mobile, and Lightroom Desktop. He’ll demystify the difference between each and demonstrate when to use each one for maximum output.

Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Lightroom
  • Those who want to gain confidence in Adobe Lightroom and learn new features to help edit photos
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Lightroom fixes

SOFTWARE USED:

Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2

ABOUT YOUR INSTRUCTOR:

Jared Platt is a professional wedding and lifestyle photographer from Phoenix, Arizona. Jared holds a Masters of Fine Arts in the Photographic Studies and a Bachelors of Fine Arts in Photography from Arizona State University and has been a professional photographer and college educator for the past 12 years and has been a speaking, debating and lecturing for the past 17 years. His attention to detail and craft make him a demanding photography instructor. Jared has lectured at major trade shows and photo conferences as well as at universities around the world on the subject of photography as well as workflow. Currently, Jared is traveling the United States and Canada teaching and lecturing on photography and post production workflow. Join him online for monthly "Office Hours" at www.jaredplattworkshops.com.

Lessons

  1. Differences Between Lightroom Mobile and Lightroom Desktop
  2. Hard Drives
  3. File Organization
  4. 30,000 Foot View of Workflow
  5. Importing into Lightroom
  6. Building Previews
  7. Collections and Publish Services
  8. Keywords
  9. Hardware for Lightroom
  10. Searching for Images
  11. Selecting Images
  12. Organizing Images
  13. Collecting Images for Use
  14. Develop Module Overview
  15. Profiles
  16. Basic Adjustments
  17. Basics Panel: Texture, Clarity, and Dehaze
  18. Basics Panel: Saturation and Vibrance
  19. Tone Curve
  20. HSL
  21. Split Tone
  22. Lens Corrections
  23. Details
  24. Transform Tool
  25. Effects Panel
  26. Synchronizing for Faster Editing
  27. Spot Tool
  28. Skin Softening and Brush Work
  29. Range Masking
  30. Dodge and Burn
  31. Working with Specific Colors
  32. Edit Quickly with Gradient Filters
  33. Making Presets
  34. Preparing Image in Lightroom
  35. Content Aware Fill
  36. Skin Repair
  37. Skin Smoothing
  38. Expanding a Canvas
  39. Liquify
  40. Layers and Composite Images
  41. Sharing via Web
  42. Exporting Files
  43. Sharing with Slideshows
  44. Archiving Photos and Catalogs
  45. Designing
  46. Making Prints
  47. Color Management and Profiles
  48. Archiving Photos and Catalogs
  49. Using Cloud Storage
  50. Adding Images to your Portfolio
  51. Collecting for Your Portfolio
  52. Publishing Unique Websites Per Project
  53. Sharing to Instagram
  54. HDR
  55. Panorama
  56. HDR Panorama
  57. Making Presets
  58. Creating Profiles
  59. Maps
  60. Setup for Tethered Shooting
  61. Sharing with the Client
  62. Watched Folder Process
  63. Second Monitor and iPad
  64. Backup at the Camera
  65. Gnar Box Disk Backup
  66. iPhone and iPad Review
  67. Importing to Lightroom on iPad
  68. Cloud Backup
  69. Adjust, Edit, and Organize
  70. Using Lightroom Between Devices
  71. Lightroom Desktop
  72. Removing Images from the Cloud
  73. Profiles
  74. Light
  75. Color
  76. Effects
  77. Details
  78. Optics
  79. Geometry
  80. Crop
  81. Adding and Using Presets and Profiles
  82. Local Adjustments
  83. Healing Tool
  84. Synchronizing Edits
  85. Editing in Photoshop
  86. Finding Images
  87. Sharing and Exporting Albums on the Web
  88. Posting Images to Social Media
  89. Overview of Lightroom Desktop
  90. The Workflow Overview
  91. Organizing Images
  92. Albums and Shared Albums
  93. Lightroom Desktop Workspace Overview
  94. HDR and Panoramics
  95. Light
  96. Profiles
  97. Tone Curves
  98. Color
  99. Effects
  100. Details
  101. Optics
  102. Geometry and Crop Tool
  103. Sync Settings
  104. Making and Adding Presets
  105. Healing Brush
  106. Brush Tool
  107. Gradient Tool
  108. Edit in Photoshop
  109. Finding Images with Sensei
  110. Sharing Albums on the Web
  111. Print through Photoshop
  112. Exporting Images to Files or Web Services
  113. Connecting with Lightroom Classic and Mobile Devices
  114. Archiving Images for Storage
  115. Review of the Workflow

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