Why Use Photoshop for Cloning, Healing & Removing Distractions?
the first thing I want to kind of want to set the stage on. Why were inside a photo shop in the first place? Because as a photographer, my hope for you is that you're either starting your workflow inside a late room or you're starting inside a camera. So you're starting or whatever raw editor happens to be. Um, But you're starting there, and then you get to this point where there's something you can't you can't remove. You can't get out of your photo. So where do we weren't where? Why do we jump from there? So I'm gonna actually start off here. Um, I've got a photo in light room. It's not this food photo, by the way. Eso got a photo in light room, so let's go take a look at it's good jump. We'll take a look at something like this. So what kinds of things is light room good at. And where where does it leave? A little bit to be desired. If you didn't know when when you got the when you got the develop module open inside a light room. All right. We're over here inside of leg room, and we ...
have our our little spot removal brush This. It works really good on a lot of different things, but I want to show you where where its flaws they're gonna be. So if you just had, you know, if I had, like, tiny little and I'm my job never really want to do this on this photo. But if I had tiny little things that I wanted to get, I just go paint and it will remove him. You have something like that. The difference with what happens inside a light room is that it has to pull from part of the photo. All right, it's got to. It's It's not creating its own area. It's not looking at what you're painting on and looking at the area around it and deciding. Okay, what should I fill this with? It's gotta literally clone from part of the area. Now there's a clone. He'll option. The clone is literally a clone. It's gonna take a piece from part of the photo and put it over here. The hell option. It's almost like reduced capacity. In a way. It melds it together a little bit, but it's still a the end of the day. All it's doing is kind of feathering the edges, and it's not creating its own. So that's the That's the difference inside a late room. If we get to a point where there's, you know, there's a big distraction in a photo, um, you have something a little bit larger? Lake. Let's see if I can, you know, like I want to remove a whole branch off of the offer. The palm tree here. If I go and I start to paint, do something like this, it's not gonna go away. It's always gonna have to pull from part of that photo, and then it's got to pull from the sky, and the sky's not gonna match that area, so you're a little bit limited in light room. You can do some basic things. If you have a little bit of telephone wire, small spots or blemishes, there some things that you can you can use the light room tools for. So I want to set the stage that this classes for. After that, you'll get to a point where there's something that you can't do it inside of leg room, because it's gotta pull from part of the photo. And when it does that, sometimes it looks like it's patched in because the lighting and the toning and everything doesn't match so not bad tools. It's just they have their place. You kind of have to know.
It happens to every photographer when they are going through their images. A stray branch, soda can on the ground, or other distracting element in your favorite image. Why not just remove it? Sometimes it’s easy, but sometimes you just can’t make it look right. On top of that, there are several tools that all seem to do the same job in Photoshop®. In this class, Matt Kloskowski will walk through which tools work best for which jobs and how to remove those distracting elements from your photos.
Software Used: Adobe Photoshop CC 2017