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Adobe Photoshop CC Bootcamp

Lesson 56 of 118

Content Aware Fill


Adobe Photoshop CC Bootcamp

Lesson 56 of 118

Content Aware Fill


Lesson Info

Content Aware Fill

There's another tool we have here. It's called the Content Aware Fill Tool, and if you're familiar with Photoshop dating back to, you know, CS5, CS6, this was breakthrough, cutting edge technology back then, that now has kind of just found its way into other tools, where what you're seeing with the Content Aware Move Tool and what you're seeing with the Patch Tool, those are all things that actually do, kind of source, this fill technology. So if we were to go and use Content Aware Fill, there's a couple reasons why we would use this, and one of them, first of all, let's make a selection for some of these rocks here and I'll show you Content Aware Fill first there. So if I go there and I grab, I zoom in here and I grab this rock and I wanna fill this in. Let's say I didn't wanna use something like the Clone Stamp Tool, or I didn't wanna something like the Patch Tool, for some reason or another. I wanted to select multiple areas, like maybe press shift and select this area too. I could ...

then come up here, press shift F5, or go to edit. Shift F5. Why is it, oh, 'cause I'm stuck up here. If you're stuck in here, it's not gonna work. Shift F5 and then go to content aware, and select color adaptations so that it does help the color around it, and if we press OK... It's not gonna do what I want it to do. That's interesting. (laughs) Shift F5 and content aware. Let's turn color adaptation off, let's see what happens there, press OK. Okay, hold on one second. Shift F5, color adaptation, let's see if the blend mode is the problem here. Maybe we'll change it to normal, press OK. There we go, it was a blend mode. So as it was trying to fill in those areas, it was using the blend mode of soft light to fill in those areas, which is not what I wanted. I want it to literally take a selection for me, so setting it to normal was what did that for me. So if I zoom in here, we can see that if I press command or control D to deselect that, we've got a hard edge around there. It did a good job of filling that stuff in. All that stuff disappeared, right? But it's got that hard edge around it. One thing that I did not show you was selections. That you can also do while you have a selection available, is if you go up to select, and you go to modify and go to feather, this will feather the edge before we even do the Content Aware. So if we feather that edge by, let's say five pixels, press OK, and then we go to shift F5, and then Content Aware Fill, it's gonna feather that edge so we don't get quite as much of a hard edge. Hmm, it didn't do it quite as well as it did before. (laughs) It didn't like that feather. Let's go ahead and go back to our selection here. Let's go back here, just act like that didn't happen. Okay, we'll go select this and then select this, and then we go to select and we'll go to modify and we'll go to feather, change this to two pixels, press OK. And then shift F5 and then Content Aware, yeah. We had too many pixels selected. So at five pixels, it was selecting so much of that area around it that when it came in and did the feathering, it also did too much of a color adaptation because of the amount of pixels that we had feathered there, but if we just do two pixels, it does pretty well. But this is basically the technology that we used long before all the other tools were around. Now where this can be helpful, is, let's say with this image, we wanted to extend the sky a little bit. Okay, so let me go ahead and turn this layer off, make this an un-background layer and go to image and go to canvas size. Right now, with this set to canvas size, I'm saying that the width of this image is 20 by 13. If I change this mode down here to relative, and I change the height to two, that's gonna give me a relative height increase on both the top and bottom of the image, but if I go ahead and do this, that's gonna make sure that the height increases by two inches up and not two inches down and up, okay? So once I do that and press OK, I've added two inches to the top of my canvas. So if I wanted to fill this area with the rest of those clouds, I would use one of my selection tools, like maybe the Magic Wand, click that area that's empty, and I would use something like the Content Aware Fill to fill that in. Shift F5, Content Aware Fill, it's gonna do some calculations and it's gonna fill that sky area in. This can be great if you've taken a shot, so you've got a shot, imagine a building, you got the top of the building, a city skyline, and one of those buildings is just creeping into the top and now you've got a compartmentalized image that has stuff on the left, stuff on the right, building in between. Well we want air to breathe around that top area. So instead of dumping that file, you can just add some area to it, fill that area in with Content Aware Fill, and now you've got the area replaced. I do have to give you some words of caution here though. When we do this, it might make a seam, and we don't want a seam. If it does make a seam, and you see a seam of transparency underneath there, just go ahead and take a step back, and now we're gonna go up to select, go to modify, and go to expand, and we're expanded by two pixels. So what that does, just that two pixels, is gonna allow Photoshop to see more of the area below it, below that selection, and feather those two areas together. Shift F5, Content Aware Fill, press enter, and we're good to go. And actually what it did there was it made a much better fill, and even if you look at the top of that sky, it even made it look like it's branching out into a perspective, pretty interesting. That added more sky. So that's areas that use Content Aware Fill. What's happening there though, we got repeating patterns, don't we? There's a lot of repeating patterns there that we would not want the viewer to see. If that was the case, we could then come to something like the Clone Stamp Tool, take different areas. Maybe a bigger area from over here, alt or option, click here to make it kind of blend in a little bit better, break up any of those repeating patterns that we would see in the image so that the viewer doesn't really see that we used something to expand the sky.

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:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • 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.


Adobe Photoshop CC 2018


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


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.

Robert Andrews

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

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!!!!