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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 90 of 118

Remove Objects Across an Entire Image

Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

90. Remove Objects Across an Entire Image


  Class Trailer
Now Playing
2 Bridge vs. Lightroom Duration:06:39
3 Tour of Photoshop Interface Duration:18:21
4 Overview of Bridge Workspace Duration:07:42
9 Developing Raw Images Duration:30:33
11 How to Save Images Duration:03:37
12 Using the Transform Tool Duration:04:48
14 Selection Tools Duration:05:55
15 Combining Selection Tools Duration:07:37
17 Quick Mask Mode Duration:05:07
18 Select Menu Essentials Duration:21:28
20 Align Active Layers Duration:07:29
21 Creating a New Layer Duration:06:15
22 Creating a Clipping Mask Duration:03:02
23 Using Effects on Layers Duration:11:24
24 Using Adjustment Layers Duration:16:44
25 Using the Shape Tool Duration:04:39
30 Adding Texture to Images Duration:09:11
35 Understanding Curves Duration:06:18
36 Editing an Image Using Curves Duration:18:41
39 Editing with Blending Modes Duration:08:04
40 Color Theory Duration:05:59
41 Curves for Color Duration:16:52
42 Hue and Saturation Adjustments Duration:08:59
44 Match Colors Using Numbers Duration:16:59
45 Adjusting Skin Tones Duration:05:25
52 Clone Between Documents Duration:13:19
53 Crop Tool Duration:10:07
54 Frame Tool Duration:02:59
56 Paint Brush Tools Duration:13:33
57 History Brush Tool Duration:06:27
58 Eraser and Gradient Tools Duration:03:06
60 Blur and Shape Tools Duration:11:06
61 Dissolve Mode Duration:09:24
62 Multiply Mode Duration:15:29
63 Screen Mode Duration:14:08
64 Hard Light Mode Duration:14:54
66 Smart Filters Duration:11:32
67 High Pass Filter Duration:13:40
68 Blur Filter Duration:05:59
69 Filter Gallery Duration:07:42
70 Adaptive Wide Angle Filter Duration:04:43
71 Combing Filters and Features Duration:04:45
72 Select and Mask Duration:20:04
73 Manually Select and Mask Duration:08:08
74 Creating a Clean Background Duration:21:19
75 Changing the Background Duration:13:34
76 Smart Object Overview Duration:08:37
77 Nested Smart Objects Duration:09:55
78 Scale and Warp Smart Objects Duration:09:08
79 Replace Contents Duration:06:55
80 Raw Smart Objects Duration:10:20
83 Panoramas Duration:13:15
84 HDR Duration:11:20
85 Focus Stacking Duration:04:02
86 Time-lapse Duration:11:18
87 Light Painting Composite Duration:08:05
88 Remove Moire Patterns Duration:06:11
89 Remove Similar Objects At Once Duration:09:52
91 Replace a Repeating Pattern Duration:06:50
95 Warping Duration:11:03
96 Liquify Duration:14:02
97 Puppet Warp Duration:12:52
98 Displacement Map Duration:10:36
99 Polar Coordinates Duration:07:19
100 Organize Your Layers Duration:11:02
101 Layer Styles: Bevel and Emboss Duration:02:59
102 Layer Style: Knockout Deep Duration:12:34
103 Blending Options: Blend if Duration:13:18
105 Layer Comps Duration:08:30
106 Black-Only Shadows Duration:06:07
109 Create an Antique Color Action Duration:13:52
110 Create a Contour Map Action Duration:10:20
111 Faux Sunset Action Duration:07:20
112 Photo Credit Action Duration:05:54
113 Create Sharable Actions Duration:07:31
117 Scratch Disk Is Full Duration:06:02
118 Preview Thumbnail Duration:02:10

Lesson Info

Remove Objects Across an Entire Image

let's move on to other challenges because with advanced retouching, they're a bunch of them now in this image, I'm not gonna spend the time to make it perfect, and that's just because I'm trying to share with you one tip, and to fix the rest of the image, I would have to use other techniques that kind of techniques will use on other pictures. Now here we have telephone lines that I would like to get rid of, and if you look, they go across very complex areas. So let's see if we can figure out how to deal with telephone lines. Well, usually, I would end up using what's called the spot healing brush, the spot healing brushes when where it figures out where to copy from. But when I use it across the sky, I find it's important that I do this first image mode and I check how maney bits My picture is. If you're working with JPEG file, which is what this is, you're going to be an eight bit mode. Eight. That mode. What it means is you have 256 brightness levels on your picture total between whi...

te and black you have 256. Well, I find when retouching across the sky, if I'm in that mode, often times Aiken tell exactly where I've done retouching. It doesn't blend thief shades together enough, so I make sure I'm in 16 bit. bit means you can have thousands and thousands of shades of gray, and it makes it so it can create smoother transitions. Now, if your image started an eight bit and you're converting the 16 that doesn't suddenly ADM or information to your file, it just makes it so. That tool I'm about to use can put more information in your file. It's kind of like having a garage that can fit four cars and you buy new house that can fit eight cars, but you only own four, and so you get to your new house. You throw your four cars in there, you have room for more. But there your collection of cards isn't actually that big. Well, when I do this right here, we still have an eight bit picture. But it's in a 16 bit rapper like being in an eight car garage. It's got more space it could use, and that makes it so this particular tool can now make more subtle transitions. And I find oftentimes it looks better when going across the sky. Then what I want to do is get a brush that's not dramatically big. And I'm going to click on one end of a telephone line, like right up here, where it touches the edge of the picture, and I'm gonna make sure my brush is centered on it vertically. I'm gonna click and let go. Then I'm going to move my brush to another area. I'm going to hold the shift key, and I'm gonna make sure my brushes again centered on the line vertically, and I'm gonna click when you shift. Click you get a straight line is if you manually painted from where you clicked last to where you are now in. Therefore, it should paint over that particular area. But then telephone lines often sag in, so I can't often go across the entire length of it without having to use a huge brush to cover it without getting outside of my brush stroke. And that's why did a shorter, lengthier I'll find a natural break like right about here in the telephone line. I'm gonna hold down the shift key, and I'm gonna click again. And in that area, it would be most ideal if I used a smaller brush because it would retouch less of that image. But we're gonna be fine here. I'll hold shift. I'm gonna click right here. Then I'll hold shift and click over here in each time making sure I'm vertically centered on whatever. I'm trying to get rid off and I'll do the same thing down here to this line. Hold, shift, click about here, Hold shift. And it's not gonna be perfect in there. But I'm gonna try shift. It looks pretty straight. So I'm going to go all the way over there. Keep going, click and look one more up here at the top shift. And if it ends up leaving a little tail on the end there, just go to the where that starts. And that's where I'd clicked to begin. Then will come to here. Follow that down to maybe about here. That's where I should be using a smaller brush so it messes up less of the image, and then I might manually paint there, but getting it away from the sky. The key is 16 bit mode. That's what gives you a smooth and results. So many people start with eight bit. They use it and you can see exactly where your paint strokes are. You need to be in 16. Then the second thing is to click in one spot, hold shift and click on another. So it draws a straight line for you because otherwise you end up going across an area and you're so sloppy with your painting, you end up retouching a much larger area that was truly needed Now, after that, it's a matter of zooming up and actually being critical of these areas, and I'm actually not going to do that on this image. Unfortunately, that's because I have a different image where we're going to talk about how I deal with complex areas. But for now, we can look at this to see what kind of a job it did, and I can see a lot of repeated areas like here, here, copied from this edge and put it down further what I would have done. And there is most likely used a smaller brush so there wouldn't be such a wide area that's being changed, and then I'd have to come back afterwards in retouch all those areas that have inappropriate content.

Class Description

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


  • 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


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.


  • 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.


Adobe Photoshop 2020 (V21)


Noel Ice

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

a Creativelive Student

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!


The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it