Adobe® Photoshop® CC® Bootcamp

Lesson 104/118 - Clean Up with the Clone Stamp Tool

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Clean Up with the Clone Stamp Tool

So now I'm just go ahead and go around and start cleaning up some of the, the areas on my face and around my hair, like the stray flyaway hairs, and even maybe some of the blemishes that might be on my face. And to do that I'm gonna use the clone stamp tool, or any of the tools in my arsenal that would be of the cloning type capacity, that allow me to work on a new layer. So, of those tools that we've talked about, the clone stamp tool is a great one, it allows me to work on a new layer, some of the ones that we don't necessarily want to use would be something like the patch tool, because the patch tool won't work on a new layer, I'd have to make a flattened document of all the stuff that's happening here. When what I'm trying to do is create a bunch of non destructive edits that are gonna happen on top of this. There will be times where you might have to do something with a stamp and maybe get a little bit destructive, don't worry about that, I want you to try and have a non destructi...

ve workflow throughout this whole thing, but if you have to do something because you need that pixel layer, don't be afraid to do it, just know that you did it, and if you did, maybe highlight that layer with something like the color red, so you know, okay, that is a stamped version, so everything that's happening underneath, I'm not gonna be able to see, because this is the stamped version. Those are good practices to get into, if you're gonna be doing a stamped layer on the top. So let's rename this though, because we're gonna start building up a bunch of layer stacks here, so instead of calling this Hue Saturation, let's call this Teeth White, and then let's add another layer here. And this layer is gonna be Clone for Hair. So I'm gonna get the clone stamp tool, and what do I wanna select? Do I wanna select the current layer? No, because the current layer is empty. I would want something like current and below. And I've just got a small brush. Press the left bracket key to make my brush a little bit smaller. And just select areas on the outside that are close to that area. I might not want to get a brush that has such a wide feather on it, so in some cases I use a feather, a hardness brush that has zero hardness with this, because if we look at the edges of my hair, if I were to make a selection for this background here and then start painting in here, look at how much, it look likes I'm kinda painting in my hair, and that doesn't look right. So what I might do here is drop this hardness until I get a brush that kind of matches the exterior of my hair, and then Alt or Option, start painting that in right there. Alt or Option, and I'm making samples of areas and just very carefully going in and through them. Again, these hairs on the side here, those are little flyaways too, and there is a differentiation between this area of the image right here, and this area, that's the faux brick that I have on the back of my wall there, this is one of those separators. So I wanna make sure that if I'm making a stamp of something, I get something that's close to that, to do this section of hair, and then work my way up. I'm just slowly. Do I want to do something like this? And get rid of all those? No, because that doesn't look natural. What I wanna do is I wanna just grab a slight little area here, I'll leave a little bit of those stray hairs there, but ones that are wild and stray, like these ones, they need to go. Alt or Option, click above, always reset, click and reset, get rid of that stray hair. But you notice how this brush just matches that perfectly, so even if I get too close to the head, if we look at the pixels here, that are going between here and here, there's a slight bokeh effect that's happening here. If I were to use an extremely soft edge brush it'd look like painting, but to use a brush that has a slight amount of hardness to it, just to match what that looks like. And you can see that when you press Alt or Option and you put that brush right next to the head there you can see it's pretty good, pretty darn good. You're allowed to get impressed with yourself, go ahead. That right there... Paint that... And then right here. If I need to get a smaller brush, don't be afraid to left bracket key, get a smaller brush, paint those areas out. Alright, see that zit on my head, isn't that nice? That's a shiner. Make that brush a little bit bigger, right bracket key. That's pretty good. Let me go right down to here. Left bracket key make it a little bit smaller. And I'll zoom out, so look at that. Before, after, before, after. Just cleaning up that stuff just a little bit there. Now, there are ways that we can use the clone stamp tool on actual facial blemishes if you wanted to, I'll show you how to do that. I'm also gonna do something in here called frequency separation a little bit later, which will separate that for me. If you just wanted to use the clone stamp tool you could do that, you could also use maybe one of your healing brushes as well as long as it works on a new layer, but I wanna keep the hair separate from the facial features just in case I ever need to do something different. So what I'm gonna do is I'm gonna make a new layer and put Clone for Face. So I could use the clone stamp tool. This is where if I'm using a clone stamp tool on the face I probably want to use something that's gonna be a softer edge brush instead of the harder edge brush that we had. So if that's the case I'll just go over to my brush, drop the hardness down, and then make my brush a little bit bigger, Alt click somewhere over here to get something similar. Another brush that's gonna help you out here with this might be something like the healing brush. Which one is it? It's the regular healing brush. The regular healing brush allows you to select current and below, or all layers, or current layer. When we're working like this we wanna work with current and below. Because if there's any pixel based layers up here, as I'm doing this process, and I say all layers, when I heal on this layer it'll be sampling those pixels from up here and it might do some funky things, okay, so just make sure you're set to current and below. With the healing brush, we just go ahead and click on this area here, we Alt or Option click somewhere else, and just click over that and it's going to heal it. The difference between heal and clone, just as a reminder, a clone will take an exact replica of the area that you're selecting, whereas a heal will use the information that you take from, pull it over to the area that you're clicking on, and it will look at the area and see if it can find pixels that look like it and fill it in, and instead of it taking a literal copy of exactly what you're telling it to, it tries to blur it in, blend it in, and make the colors and all the pixels match. So if I were to click Alt or Option over here, and then click right here, you can see that. If I were to click over here, and then click over here, you see how it's still, even though I took a really bright area of my face and brought it over here to fix that up, it's saying "No, no, no, "I'm a healing brush. "I'm not gonna take white from over here "and put it over into a shadowy area. "Just doesn't work for me, doesn't fly with me." And there are many other areas on the face that we could use the healing brush or the clone stamp brush for, but one of the things I wanna show is gonna be frequency separation. So I'll show you how that can be a little bit more powerful coming up here, but let's, before we get into that, let's talk about lightening up eyes.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018

Lessons

1Bootcamp Introduction 2The Bridge Interface 3Setting up Bridge 4Overview of Bridge 5Practical Application of Bridge 6Introduction to Raw Editing 7Setting up ACR Preferences & Interface 8Global Tools Part 1 9Global Tools Part 2 10Local Tools 11Introduction to the Photoshop Interface 12Toolbars, Menus and Windows 13Setup and Interface 14Adobe Libraries 15Saving Files 16Introduction to Cropping 17Cropping for Composition in ACR 18Cropping for Composition in Photoshop 19Cropping for the Subject in Post 20Cropping for Print 21Perspective Cropping in Photoshop 22Introduction to Layers 23Vector & Raster Layers Basics 24Adjustment Layers in Photoshop 25Organizing and Managing Layers 26Introduction to Layer Tools and Blend Modes 27Screen and Multiply and Overlay 28Soft Light Blend Mode 29Color and Luminosity Blend Modes 30Color Burn and Color Dodge Blend Modes 31Introduction to Layer Styles 32Practical Application: Layer Tools 33Introduction to Masks and Brushes 34Brush Basics 35Custom Brushes 36Brush Mask: Vignettes 37Brush Mask: Curves Dodge & Burn 38Brush Mask: Hue & Saturation 39Mask Groups 40Clipping Masks 41Masking in Adobe Camera Raw 42Practical Applications: Masks 43Introduction to Selections 44Basic Selection Tools 45The Pen Tool 46Masks from Selections 47Selecting Subjects and Masking 48Color Range Mask 49Luminosity Masks Basics 50Introduction to Cleanup Tools 51Adobe Camera Raw 52Healing and Spot Healing Brush 53The Clone Stamp Tool 54The Patch Tool 55Content Aware Move Tool 56Content Aware Fill 57Custom Cleanup Selections 58Introduction to Shapes and Text 59Text Basics 60Shape Basics 61Adding Text to Pictures 62Custom Water Marks 63Introduction to Smart Objects 64Smart Object Basics 65Smart Objects and Filters 66Smart Objects and Image Transformation 67Smart Objects and Album Layouts 68Smart Objects and Composites 69Introduction to Image Transforming 70ACR and Lens Correction 71Photoshop and Lens Correction 72The Warp Tool 73Perspective Transformations 74Introduction to Actions in Photoshop 75Introduction to the Actions Panel Interface 76Making Your First Action 77Modifying Actions After You Record Them 78Adding Stops to Actions 79Conditional Actions 80Actions that Communicate 81Introduction to Filters 82ACR as a Filter 83Helpful Artistic Filters 84Helpful Practical Filters 85Sharpening with Filters 86Rendering Trees 87The Oil Paint and Add Noise Filters 88Introduction to Editing Video 89Timeline for Video 90Cropping Video 91Adjustment Layers and Video 92Building Lookup Tables 93Layers, Masking Video & Working with Type 94ACR to Edit Video 95Animated Gifs 96Introduction to Creative Effects 97Black, White, and Monochrome 98Matte and Cinematic Effects 99Gradient Maps and Solid Color Grades 100Gradients 101Glow and Haze 102Introduction to Natural Retouching 103Brightening Teeth 104Clean Up with the Clone Stamp Tool 105Cleaning and Brightening Eyes 106Advanced Clean Up Techniques 107Introduction to Portrait Workflow & Bridge Organization 108ACR for Portraits Pre-Edits 109Portrait Workflow Techniques 110Introduction to Landscape Workflow & Bridge Organization 111Landscape Workflow Techniques 112Introduction to Compositing & Bridge 113Composite Workflow Techniques 114Landscape Composite Projects 115Bonus: Rothko and Workspace 116Bonus: Adding Textures to Photos 117Bonus: The Mask (Extras) 118Bonus: The Color Range Mask in ACR

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!