Content Aware Fill


Adobe® Photoshop® CC® Bootcamp


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:

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


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


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!