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Creating Your Reality with Composite Photography

Lesson 52 of 60

Removing Visual Distractions with Stamp Tool


Creating Your Reality with Composite Photography

Lesson 52 of 60

Removing Visual Distractions with Stamp Tool


Lesson Info

Removing Visual Distractions with Stamp Tool

Control, shift, new. Control, shift, N: control, shift, new. Alrighty, so I'm gonna call this background cleanup. So, I am going to do all these signs of civilization here. All this crap. I'm not into it, it can go away. If you watch the photo week version of this, I went over some of this as well. So, I did a class on photo week in the fall, if you want to check that out you can totally do it. So, I'm using this stamp tool. And I'm gonna use all the brushes like I said, I've said this before, come stock in standard with Photoshop. These are not special brushes. Although I highly encourage, I really encourage the use of custom brushes. I'm gonna try using the 32 brush. It might work, it might not. I'm setting it right now, the brush is set to current layer. I'm gonna set it to all layers. Reason why I don't want it set to current layer, of course, is that if I'm stamping on a transparent layer I'm gonna get more transparent layer. My flow is two percent, I need higher than that. I'm ac...

tually just gonna go straight to 100. And all I'm trying to do is make things so that people don't notice it. So, get rid of all the little tiny rooftops. And I'm resampling a fair bit. I think this brush is like a little bit sharp for this job. But, it's so far away and it is a small detail in this image that I think I can get away with it. So, if I was to do this with my own custom brushes, I probably would take a part of this background and create a brush out of it. So that the texture and everything is the same. But, if you want to learn how to make brushes, there are CreativeLive courses on that, and I once again, am not gonna spend another hour or so explaining how to do that. But, the information is totally out there and you can do awesome stuff with brushes. So, get rid of this stuff. Like I said, unfortunately there's no way to make this interesting and exciting. I would love to be able to be like, yeah, this is, like, run around and see awesome crazy changes. But, I mean compositing is a bunch of lots and lots of really tiny changes that turn into big things. So, it's not, you know, one big slider to change everything. It takes time and it's boring. But it's really fun once you get going if you're into that (laughs). So, watch here as I'm going along the water line and I'm making sure that I'm stamping along the water line so that everything is relatively even. I also want to make sure I don't have repeating patterns, so I'm sampling a lot. And like with anything it's kind of like with the fabric moving, right. It's not something that we necessarily want people to notice like, "Oh my god, "look at the movement in that fabric." I just want it to be a detail that nobody notices. Alright, and so they can get back to just enjoying looking at the image and enjoying the experience. So, I have some custom brushes for this task that are totally awesome. But, we're gonna do it this way. Sample some nicer green from over here. Oh, click. Go away. Alright. So, we're just removing distractions. Before, after. Next little batch of stuff down here, there's more real life going on over here. So, we'll get rid of that because it's gonna drive me totally nutty. But in this case, this brush is way too sharp for this. So, I'm gonna try something else. We're gonna try using this 45 brush here 'cause it's got softer edges. Ooh, yeah, this is way nicer. Should've used this before. So, I'm doing this at 100 and 100: 100 opacity, 100 flow. Because I want all the noise to stay consistent. If I do less than 100 percent flow and opacity, then of course, the noise starts to get a little murky. But this is another great example, as I was explaining yesterday, the things that are further away have less contrast, less detail and less saturation. Compare this part here to what's going on over here to what's going on over here. This has far more saturation, far more detail and far more contrast than what's going on down here. So perfect example of that. And, because I'm a little bit neurotic, I'm gonna fix up some of this because it needs to be. There we go. Yeah. That 45 brush is pretty awesome for stamping out trees and homes and stuff. Alright, next thing I want to clean up, is I want to look and I want to see are there any tiny humans in the picture? There's tiny humans in the picture. Little tiny blue shirts. You can go away. I don't know what that is. The thing looks like a Sasquatch or something there. You can go away too. You can go away. And if you're out, ever shooting on location like this, sometimes there's garbage. That's another thing I like to look for when I'm cleaning up an image. Clicking for any trash because some humans did not learn anything when they were in school. And they weren't very nice and they're throwing their garbage everywhere, or it flew out of a backpack. All things are legit and possible. I thought I saw something blue over here, there we go. Garbage. And that's bugging me, it looks like a floating cat head. We're gonna get rid of it. So, now quite quickly, before an after, we've cleaned that up.

Class Description

With the right Adobe® Photoshop® know-how and studio shoot experience, you can merge fact and fiction into a reality that lives up to your imagination. Renee Robyn has made a career of turning everyday photos from her travels into eye-catching images. Robyn will teach you how to add people and other elements to your existing landscape photos using ethereal custom effects.

In this class you’ll learn:

  • How to choose or set up a shoot for your background image
  • How to direct posing during a shoot, and work with directional light in-studio to make your subject fit into the background image
  • How to composite your subject into your image using Photoshop

Photo compositing allows you to breathe interesting ideas into your photos. Open your hard drive, walk into your memory, and turn past experiences into fantastic new realities.


  1. Class Introduction
  2. Why You Should Sketch Your Composite
  3. What to Look for in Your Background
  4. Posing Your Model
  5. Communicate with Your Team
  6. Elements of Compositing
  7. Learning from Failure & Criticism
  8. On-Location Safety Tips
  9. How to Nail the Right Perspective for Your Composite Photo
  10. Gauging Light & Exposure On-Location
  11. On-Location Posing
  12. Cliff Shoot Location Final Thoughts
  13. Tips for Culling Images
  14. Culling Images Q&A
  15. Preparing Your Image for Composite
  16. Composite Image Cleanup
  17. Adding Background Image to Composite
  18. The Difference Between Flow & Opacity
  19. Composite Sky Elements
  20. Using Curves to Color Match
  21. Adding Atmospheric Depth to Image
  22. Using Color Efex Pro to Manipulate Color
  23. Using the Liquify Tool
  24. Color Theory & Monitor Calibration
  25. Adding Smoke Layer to Image
  26. Selective Sharpening
  27. Crop Your Image
  28. Goal Setting for Digital Artists
  29. Review of Location Composite
  30. Understand Angle & Height for Your Base Plate Image
  31. Base Plate Focus Point
  32. Base Plate Lighting Tips
  33. How to Use a Stand-In for Base Plate Image
  34. Capture On-Location Base Plate Image
  35. Student Positioning Demo
  36. Base Plate Sketching
  37. On-Location Sky Capture
  38. What to Look for in a Base Plate Model
  39. Building Composite Model Lighting
  40. Composite Model Test Shots for Angle Matching
  41. Composite Model Shoot: The Art of Fabric Throwing
  42. Composite Model Shoot: Working with Hair
  43. Composite Model Shoot: Posing Techniques
  44. Composite Test with Final Shot
  45. Lighting Setup Overview
  46. Culling Model Shoot Images
  47. Adjusting Skintone Colors
  48. Merging Background with Model
  49. How to Mask Hair
  50. Creating a Layer Mask with the Brush Tool
  51. Creating Shadow Layers
  52. Removing Visual Distractions with Stamp Tool
  53. Replacing Sky with Layer Mask
  54. Drawing Hair Strands and Atmospheric Depth
  55. Creating Contrast in Your Composite
  56. Adding Atmospheric Elements
  57. Using Particle Shop
  58. Selective Color Adjustments
  59. Cropping, Sharpening, & Final Touches
  60. Closing Thoughts


Dino Maez

i have to say, the class was AMAZING! in every way from the tricks and technique's of mastering this art form to the personalized attention given by Renee. through the class you are able to learn information that would normally take the average person years of trial and error. Renee gives you the gift of benefitting from her her experiences and what she has learned THE HARD WAY! Renee is an outstanding instructor full of passion for what she does, and with a strong desire to not only improve the art, but more importantly, pay it forward, by sharing her knowledge with others. I was fortunate enough to be able to attend the event in person, truly a once in a lifetime experience for me, the staff at creative live were THE BEST! they are helpful in every way and really made this event something special, i can't say enough about the experience i had and would highly recommend that anyone who has the opportunity to go down for a class, it will be an experience that you will never forget. but the best part of creative live is that wether you are there in person or wether you are watching from the comfort of your own home, you are involved in the class in REAL TIME, you have the ear and attention of the skilled artist giving the instruction, being there myself i can tell you that Renee was regularly given questions and comments from the viewers via the creative live staff and she would respond to them as they came, in that way you are very much apart of the class you are never left without getting that personalized attention of an amazing artist or that specific question you have answered, and even better you have the option to purchase the class and have it as a constant resource in your tool kit that you can refer back to at any point that you need a refresher or want to recall that special technique that was demonstrated. thank you thank you to renee and all the staff at creative live you have a life long member in me. and i would recomend that everyone take advantage of this valuable resource dino maez

stephen lenman

I have completed many creative courses. This is by far the best so far. Quite the most amazing and inspiring presenter with a true passion for their craft. The core information is excellent, but the thing i liked most were her subtle tangents, dropping incredible information completely on the fly. A complete real world honest view of business and practical side of the industry. Especially her advice on how she started to her business. Saving up enough in her day job so she could pay the rent, and do photography for 3-6 months.

Sheldon Carvalho

Awesome class. I've been following Renee for a very long time. I love her work and to finally see her work and get an image done from start to finish was quite something.. I love the way she sees things and the way she treats her work and all fellow creative. I would recommend this to everyone interested in getting into composting. Looking forward to creating and making my own art work. But it now :) Have fun creating. :)