Adobe® Photoshop® CC® Bootcamp


Lesson Info

The Patch Tool

The Patch tool is very, very intuitive. I really do enjoy the Patch tool. It's different, in that, with the Clone Stamp tool, we're trying to find an area that we want to replace, with the Patch tool, we are trying to select the area that we want to replace, and then replace it with an area that we select. So, it's a little bit backwards, all right? And the Patch tool has two different, distinct ways we can use it. We can either use it as the source or the destination. If we use it as the source, if I were to highlight this area, again, it's basically, this Patch tool is using the technology of the Lasso tool, the freeform Lasso tool, so when I make a selection around this area, that is the freeform Lasso essentially that we talk about in Selections. Now, if I go ahead and move this down to here, I'm telling it to fill in that area with gray. If I were to make a new layer here, I could also work on a new layer. So, if I were to ... Wait a second, I don't think I can work on a new layer...

here. No, I can't, yeah. So, if you're thinking that you can use this on a new layer, like I just did, you can't, because if you try to click this and move this over it's gonna say, "You cannot use this on this area "because that area is empty." So, we have to know that the Patch tool is going to be something that is relatively destructive, so that if we do want to work on this image, instead of maybe making a new layer to work on, we could just duplicate this background layer to make sure that we still have all of the data that's there, the original data below it. So, if I were gonna use the Patch tool here and just click around here and move this over to here, it's gonna take a literal selection from that area. So, this Patch tool does use diffusion as well, and, again, keep in mind that diffusion is gonna be one through three for things that are grainy, and five through seven for things that are not so grainy. For this we'll just go ahead and press Control + D and then Control + Z to go back ... Control + Alt +Z to go back in time a little bit. So, if we had this set to destination, what we're saying with destination is that the area that we are selecting we want to replace the area that we're going to put it to. So, if I have this set to destination, when I click and drag on this Patch tool and move this down here, it's actually going to make a duplicate copy of that red, instead of use the area that we want to patch it. So, we can either use the very literal area that we want to patch another area with, in this case we want to patch the rest of the image with those polka dots, so we move that around, or, if we set this to source, to get rid of those, we just do the lasso, move it around, and get rid of those areas. And, again, this is happening on it's own layer now. It's happening on a duplicate of our background layer. This tool, because it is a selection-based tool, can be used with any selection that we have. So, if you were to use something like the Marquee tool, you can marquee this, and then after you marquee it, pop down to the Patch tool, and move it up. So, you can still use something like a Marquee tool, Elliptical Marquee tool, Polygonal Lasso tool, Lasso tool, any tool that can be used to make a selection you can use with the Patch tool. And the Patch tool is pretty darn smart, though. So, what I'm gonna do is I'm gonna take this area right here, move it down to here, patch this area up, see what happens. Patch tool is pretty smart. Not only is it going and taking the literal selection from the area I'm telling it to, it's also healing in the process. So, notice how it went from a magenta area here, we moved it down to a blue area, and it filled in that area. So, if I grab this area here, maybe set that diffusion a little bit higher, drop this down, see how it blends it in a little bit better. But, it's smart and it's intuitive in that it's taking the colors around it and it's patching in those areas, even if there's other colors in that area, which, as we saw before with the Clone Stamp tool, it wouldn't do that. The Clone Stamp tool wouldn't do that. The Clone Stamp tool literally takes the area that we select and patches that area. So, the Clone Stamp tool is more than likely closer to what we would look at with something like the Healing Brush, and the Clone Stamp tool is kind of a mixture between ... Or, the Patch tool, is a mixture between the Clone Stamp tool and the Healing Brush or Spot Healing Brush, more than likely the Spot Healing Brush. Lot of technology that's being built into one. So, how this works on an image like this: if I were to move down here and grab, I'm working on the layer now, grab this area here, move this over to here, fill in that spot. It fills in that spot. It tries to pick the best color around it. Sometimes it's not going to be the best, it's kind of unpredictable, again because it's got healing involved in it. So, sometimes you might need to bring the diffusion up just to see if maybe bringing the diffusion up is gonna help, that might not help. Or bring the diffusion down, to get it to patch that area a little bit better. See how, when I move this up and down like this it's trying to automatically connect something for me, if I press the Command or Control key, it allows me to freeform it without it actually making any of those magnetic adjustments for me. So, diffusion sits at 1 there, actually look pretty good. And would this be a really good patch? Not necessarily, but then after I've done the bulk of the work I could go in with the Healing Brush, I could go in with the Clone Stamp tool, I could go in to whatever I want to fix that up with the Patch tool. There are some other healing tools that we have here to heal up our images. Let me go and fix that real quick just so you can see what I'm talking about. So, I'll move from the Patch tool to the Clone Stamp tool, and start working on this area here. So, after I've done the patch, I can then clean up with the Clone Stamp tool. There's a line here that doesn't belong, clean that up. And then zoom out, and that car is now gone. If we look at our before imagine, there's the before, there's the after, removed a couple of them. You can see it would take a long time. Now, this is a downloadable image with this, I highly suggest you take the challenge to remove every one. Take the time to do it, 'cause if you can do that on this image and make it look really good, the next time you need to use the Patch tool, or the Clone Stamp tool, or the Healing tool, try all of them. Try to see what's gonna work best for you on an image like this, and then any image you have from there on out you're gonna be spot-on.

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


Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Global Tools Part 2
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Custom Brushes
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
Basic Selection Tools
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Animated Gifs
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR


  • 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.
  • 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!!!!
  • A superb course and excellent overall job, beautifully presented and easy to grab the material, in total the material the style and the whole set of classes is just great love to g back and watch again and again