Creating Your Reality with Composite Photography

Lesson 52/60 - 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


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

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. :)

Tristan Wilhelm

Very good class. I enjoyed the very friendly, approachable and quirky style Renee teaches with. I did feel, as others have said that she could get off on bunny trails and tell stories and I was glad for Creative Live's option to speed up the video. But great tips and it was extremely helpful watching it how she would do it. Thank you much Renee, and also, I'm a PC user that unites with you.