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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 52 of 118

Clone Between Documents

 

Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 52 of 118

Clone Between Documents

 

Lesson Info

Clone Between Documents

Now let's talk about working between documents because you can copy from the contents of one document and apply it within another. So here I'm gonna open to images. We have a blue sky. I wish we had a blue sky with a cloud in it. Well, we can potentially get that if we start over here, there's our cloud. If you look at the brightness and color of the sky, it doesn't match this guy. So therefore, if I would use my clone stamp tool, it would do a lousy job, but it would still be able to work. If you want to see it, I'm just gonna option click within this cloud. I'm going to switch to the other document and I don't know if that other documents larger is smaller. But I'll click in here. I can apply my cloud. But you see, it did nothing to attempt to make it match the surroundings. That's because there was no healing involved. Let's go back to the other tab. This time I'm going to choose the healing brush, gonna go to the same cloud and remember, with healing brushes, I use hard edged brush...

es. I'll switch to the other file, and now it's attempt to apply it. It doesn't look right right now because I haven't completely made it all the way around the cloud. But once I may all the way around the cloud, that's when it notices that, Hey, it actually ends up with blue over on the edges and it's able to apply it now. It did end up making the cloud more blue, And that's just because if you compare this guy to this one, this guy is more vividly blue. And so it just made it. So the transition ended up transitioning into Justus bright of a difference, as there was between this blue in the white. Well, just imagine, you took this and adjusted it to make the blue sky Justus dark and as colorful as the other image. And you allowed that adjustment to apply across the entire image. This area here would also get darker and more blue, and it did. We can always adjust that, but that's not what I'm trying to show you right now. I'm just trying to show you that you can copy between documents. You should also know that you can copy between documents and in the process. It can copy colors. Let's say I want to put ah hot air balloon in here. I think that's gonna look ridiculous because we're gonna end up looking up at the balloon. But in order to make this fit into that other document, I think I'm gonna have to have it smaller. So I'm gonna go to image size under the image menu, and I might make this image about 30% of what it is right now. Not 3000 but about 30%. Come on. I hope it doesn't stay with a height of 3100 these to have, ah, link symbol between them. Which means that should use the same setting for both. But the fact that I'm getting a little twirly and a really long ah progress bar tells me I should click. Cancel and make sure that they're the same. I want percent 30 For some reason, this link symbol was ignored and it didn't have a 30% typed into the other field. There we go. Ok, now it's small enough that I think I can get it into the other document without bumping into other objects. I'm gonna use my ah healing brush. I'm gonna click right in the middle of the balloon switch to the other document, and let's just see if we can apply it. I'm just gonna click. It doesn't look right. That's because I haven't made it out to the edge of the balloon yet. The moment I get all the way around to the edge of that balloon I can get it to be in. This other document doesn't quite look right in the lower portion, and that's because this balloon went to a dark shade that looks similar to the sky. And so it's doing the same thing over here. But the main thing is, you can go between documents. That's great. That means that you confined. Let's say skin that has the right texture in someone else's face. And use that to remove blemishes on somebody's face that has blemishes everywhere where you can't find a clean area to copy from. You can clone between the documents and later on, when we get into advanced retouching, you'll learn how you can also scale in rotate when doing that and therefore it will become much more versatile, so you wouldn't have to do what I did, which was scaled down that balloon first. All right, let's look at a complex document. This is an image that I performed a bunch of retouching on, and I mainly want let you know how to think about retouching along with adjustments, because if you use adjustment layers and you do retouching, you've got to be careful because it's easy to mess up in kind of get in your way when you attempt to continue working on a picture. So I'm gonna turn off all the layers that are in here at the moment, and when I do, you'll see how much stuff had been retouched. I have a layer just above the background, Ah, of the image of the original image, and I call it Weeds Be gone. That's just what I like to call my retouching layers. I'm gonna turn on the eyeball for that layer on. You'll see how much stuff was retouched out in there. Then, on a separate layer, I decided to de clutter the right side of the picture to get rid of a few extra elements. I wasn't certain that I was going to want them to be gone though, so that I put it on a different layer. Therefore, I could talk about that later, on and off to decide if I wanted to do that or not. Then I have another layer that removes the Elektronik sign that's in here. And maybe it was that I wanted to sell this picture to the town of Cohen. I think this is Cohen, Tennessee. Think where the station exists. And, ah, I would put it on a separate layer so I could easily turn it on or off to decide if it should show up or not. I should mention that this bus, by the way, is my own bus. That's the bus we lived in full time for over a year. It's not painted like that anymore. But if you would like to find out about our little adventure in that bus, look up Creative cruiser on either instagram or on um, Facebook, and you can find out more. Anyway, I have three layers there that are doing the retouching work, but then here's what we need to do is we need to make sure that those retouching layers end up being below any adjustments that we dio if we end up doing any adjustment layers and then we put retouching above it, it's going to be very difficult to make changes later. You see, if I can show you what I'm talking about in this case, I'm gonna act like I'm starting over. I'll just turn off these eyeballs and I'm gonna make an adjustment. Let's say the adjustment I made was one called black and white. That will make it pretty obvious because the image becomes black and white. Then, above that, I end up making a new layer. And in that new layer, I do some sort of retouching. Maybe I used the spot healing brush and I come in here and attempt to get rid of a tower. I'm not gonna attempt to do good work, but that did pretty amazing to get rid of that tower, get rid of the top of a tell a phone pole home or but now what if I decide I no longer want the image to be black and white? Well, the problem is, the retouching is looking at the current layer in what's underneath it, to choose what copy from and when it looks at what's underneath it. It sees that black of might adjustment layer, and it affects what copying. So if I later on turn off that black and white adjustment layer, then usually we're gonna end up with some issues. In this case, it's kind of funny, because the sky where I happen to do that retouching is really close to being gray. So it doesn't show up all that much, but it's still there. Do you see that? The sky is black and white right here and over here it iss black and white. But it just might have been that the clouds are pretty close to black and whites. You don't notice it as much, but I can see a little column right here where there is a lack of color in that sky. I should have done it in a more blatant area where we had color. So to prevent that kind of a problem, I always put my retouching on layers that are found directly above the original image. And that means even if I've already applied adjustment layers to this picture to refine it, I'm still gonna work below those adjustment layers. And if I put my retouching on layers below the adjustment layers. Then those adjustments will not be incorporated into my retouching, and therefore it's not gonna matter if I ever turn them off with this little eyeball. We're not in the future. The retouching will always blend in because retouching is always looking at where you're working and the layers below it. And so when I construct my documents, that was what I have is the original image on the bottom. Most layer, then retouching layers and above that, any adjustment layers I need to apply. In this case, they happen to be stored in a folder because there's a bunch of them now. There are other retouching tools available. There is one that is, Let me see if I can open another image to show you you're gonna find if I come in here to my retouching tools that I think ignored one called the Patch Tool. And that's because the patch tool doesn't like working on an empty layer, and I always put Are you touching on an empty layer so it's separate from the main image. Also, you'll find that it's rare for me to use if I create a new layer an option that is called content aware Fill. I do use it on occasion, but it's not in every day use, and I'll try to show you why. Content aware fill is available in two areas. One is to go to the edit menu and choose Phil, and then it's in a little pop up menu in the 2nd is you can go to the edit menu and there's a choice called content Aware Fill, and that allows you to get more control Where if it ended up copying from an area didn't want to. You can force it to be able to copy from Onley specific areas within your picture, but right here you'll see one of the reasons why it's not good working on an empty layer. Any time you have an empty layer active, these tools will end up giving you messages like, for instance, here If I say Phil content aware, I wanted to just get rid of that lamp click OK could not complete because there's not enough information there. It does not like working on an empty layer. Now I'll give you work around, just in case you need to use that tool and you also want to work on empty layers. Here's what I would do. I'm gonna throw away the empty layer that I was about to work on, and what I need to do is make a duplicate of my image. So that is on a separate layer. If it's only made out of one layer, you can simply duplicate that layer by dragging it down to the new layer icon. Otherwise, what I would do is select all go to the edit menu, and there is a choice in there called Copy merged. And then right after that, go to the edit menu and choose paste. What that's going to do is, if you have more than one layer in your image, it's going to take the result of all those layers whatever that image looks like, regardless of how many layers it's made out of and is gonna put a copy of it on a layer. We don't have a complex document here, so I don't need that anyway. I'm going to duplicate this layer. Then I'm going to use that feature the feature that didn't like working on an empty layer. I'll fill content aware it'll work just fine, most the time, and I just wanted that on its own layer, where we didn't have the rest of the picture there. So immediately after using it, I go to the select menu and choose inverse to get the opposite and then just hit the late. So now I have what I wanted, which is the retouching on its own layer. If I hide the layer that's underneath, you'll see there's the retouching, and I don't see why Adobe can't make it work on an empty layer, because I can easily trick it. Just get the entire contents of the document, a copy of it on its own layer. Use the tool, and when I'm done, invert my selection to get the opposite of it and hit delete. So it's a little work around. I wish I didn't have to do, but I just wanted to mention it. It's the reason why I don't use the ah, a couple of the other tools that just don't like working on empty layers

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop 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 Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

Lessons

  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail

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