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Removing Visual Distractions with Stamp Tool


Creating Your Reality with Composite Photography


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 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.

Join us for “Creating Your Reality with Composite Photography” and 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.


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