Retouching with the Spot Healing Brush
were very limited in what we can do here in camera. And I would rather spend our time learning the really powerful retouching stuff. So let's go in and take a look. It would photo shop offers in photo shop we have three main tools will be using. That is the clone stamp tool, the healing brush in the spot healing brush. If you get used to all three of those tools and you truly understand how they work, then you'll be able to tackle most retouching jobs. So in here we have some tourists in Iceland and I would like to remove them from my photograph. I'm gonna go to my tools panel and there I'm going to find this lot right below the eyedropper tool. And that's where I'm gonna find the spot healing brush with the spot healing brush active. I'm gonna use a hard edge brush any time I use a tool that has the word healing attached. I almost always use a hard edge brush. If I use a soft edged brush, then the tool will not have control all the way out to the edge of war. My brushes, because of th...
e soft edge it will force it to fade out. Well, if it's trying to precisely match both the color in the brightness out there on the edge, it won't be able to with that soft brush. So it's only with the heart of brush that it will have full control all the way out to the edge. So I'm just gonna go on top of these people that are here and with a hard edge brush in the spot, healing brush active, I'm gonna click. And before I let go, I'm gonna paint over the entirety of what needs to be removed. And since this one person is in contact is touching the other, I'm gonna paint over them as well. And only when I got the entire thing covered am I gonna release the Mass? But now, because this tool has the word healing in its name, that means it's going to attempt to match both the brightness and the color of whatever is right on the edge of where I've painted. And that's why I did not paint over so far that I would just about be touching the guy to the left if I did extend far enough where I just touched him than it would attempt to try to match it because it would be touching the edge. So let go. And that's not bad, other than this area down here where the walking path got broken. So I'll just click on that area and see if it does an okay job. Often times I need to just get a smaller and smaller brush to get into those tighter areas. Then I'll go to the next person and do that as well, making sure I cover the entirety of it. I don't want to stop halfway. I'll choose, undo just for a moment. If I do stop halfway, let's say it started the top and I worked down like this. Well, now it assumes that it's supposed to match the brightness and color of everything that's right outside of that. So at the bottom, you see black pants, and therefore it thinks it needs to match a black object. Therefore, it might choose to grab some of the rocks that are above into the right to make it look like it's appropriate to, you know, match with those pants. Let's see, well, it extended the pants up at least. And so instead, I want to paint over the entirety of the object, because then what is out there on the edges? What it should end up matching, and it's relatively easy to remove those people now. So far I've been working directly on the layer that contains the original picture. And that's not what I would usually suggest. Because if you mess up and you happen and not notice until you've already closed that image, maybe you noticed it a month later when you're making a big print, while is impossible for me to bring back those people using just the information that's in this file because look in my layers panel, the people just aren't found anywhere. So what I'm gonna do now is Revert this picture that's gonna bring it back to its original version in before I actually do the retouching. I'd go in my layers panel, and I create a brand new empty layer by clicking on the new layer icon. And then when I go to my healing brush, I need to make sure up here in my options bar that this check box right here called Sample all layers is turned on the default setting would have it turned off. So I gotta have that turned on. Otherwise, when it's turned off, it only looks at the layer that's currently active, and that's the only layer it be able to copy from, well, that layers empty. So this tool just would not work whatsoever if that check box wasn't turned on and I was working on an empty layer. But now I can come in here and reach out, touch out the same people, and because I'm working on an empty layer, my results they're not permanent because the original untouched picture can still be found at the bottom of my layers pounds, and therefore all you need to do to see before and after is to turn off the eyeball on that layer to reveal the original picture that's underneath. Turn the I buy back on, and I see my results. And if I hide the layer that's underneath, I can see just the retouching. Now, after you have applied retouching like that, I suggest that you zoom up and you be a little bit critical of it because you'll often find repeated shapes. For instance, here, if you see some yellow flowers right here within kind of a darker mass. That is a blatant copy of this area right here. And so if you end up doing retouching, it can often be obvious if you don't look for those things. And so I'll look for blatant repeat, so get a smaller brush and then I'll try to break them up so it doesn't look like exactly like another area within the image. Also here I see kind of a distinct shape that looks very similar to this one, and I don't always retouch out the one that I've just created. It's a repeat. Sometimes I go back to the original one. Retouch it out instead. What? I try to look for those repeats and see if I can break them up to make them not look quite the same here. This area looks just about identical to that area, so break one of them up, and if it refuses to retouch something out, that's when you tackle the other repeat, and if it still won't do it either connected to together, I don't force them to get rid of it or just switched to a different tool. Pretty much this tool is the one that picks for you, where to copy from and I give it three strikes and then it's out, meaning three tries to fix an area. And if it messes up three times, I switched to a different tool, and the other tool will most likely be a more manual application. But it's gonna be something gives you more control or more influence, at least over the end result. That's more people here, but you can see that just the single tool is often enough to tackle most simple retouching jobs. All our people were gone. That's the spot healing brush in the spot. Healing Brush picks a location on its own to copy from an. Oftentimes, it's a mix of surrounding elements. It's not always a blatant large area. Eso it could do a very nice job, but at the same time it's very common for it to mess up and you have to take control
AFTER THIS CLASS YOU’LL BE ABLE TO:
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- 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.
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Adobe Photoshop 2020 (V21)