Adobe® Photoshop® 101

Lesson 39 of 48

Content Aware Fill Part 2

 

Adobe® Photoshop® 101

Lesson 39 of 48

Content Aware Fill Part 2

 

Lesson Info

Content Aware Fill Part 2

If you ever have something on the edge of your document you see here the green growth it's over there uh if you ever have something that touches the edge of your document you will find that any tool that has the word hell attached to the tool will not do a good job because any tool that has the word he'll always tries to match the surroundings match brightness, match color and when you get to the edge of your document there's nothing beyond it toe look at and so even though you're telling it to get rid of this thing that's at the edge of your document it's going to pick up the color of what was there in try to match it so let me grab a tool that works a lot like the one that was in camera that we used to get rid of sensor dust backs and it's called the spot healing brush it looks like a band aid with a little of selection behind it. I would hate to be an icon designer because the there's so many concepts these days they make people come with icons for that they feel happy a little too ...

creative for may uh okay with this tool usually I can get rid of stuff where you see with this just like sensor dust specks and camera do you see these little holes like right here and right there I don't like him so I'm going to come over here and just get a circle a little bit larger because remember it blends into whatever the circle touches so I need the circle will be touching good stuff and not that thing I'm trying to get rid of so like that got rid of it over here boom all right, so it works a lot like the one in came a wrong it's a little more sophisticated than the one in camera but it's not usually going to do a good job when you get to the edge of your document because that's where we have the color on the edge to the document of what we're trying to remove in this thing's trying to blend into the things all the way around the edge and when it sees the edge of the document there's no more beyond it tio toe look at and so it sees the original color of what was there and king brings it in you see that what I'm talking about I'll do it to the big thing you want cover the whole thing because if I stop in the middle of something then what's going to blend into well whatever's right outside of what implying in this too and it's going to see that color out there so if I let go right now a lot of that green is going to be pulled down across this area and patching it will try to make a smooth transition across it. And so I need to go all the way around and try not to kiss him remember, either gap are blatantly overlap, but you see what happened on the edge. Now we can get around that if we're using anything that's got the word hell attached. Um, by switching to a different tool, I should mention that there are lots of different retouching tools here, some and there's another one down here. This one is called the clone stamp tool. All it does is blatantly copy. Just copy this thing and move it over here. Don't do anything special, just move it over here. So with that, whenever you have something that copies from somewhere else, you need to tell it where to copy from and so to tell it where to copy from for just about any retouching tool, you hold down the option key ultima windows in click so I just option clicked. You see where my mouse is right now, but right up there is where I'm gonna copy from right in this area and then I'm gonna apply over here and what I'm doing now copy from over here is I'm just tryingto isolate the thing I need to remove so it's surrounded with the color that should be there when I'm done now if I'm gonna have a problem right where that monkey is because I just can't be precise enough to not come over and kiss the monkey that sounds funny um then I'm gonna have to put a little gap there as well so I can copy from an area in the surroundings and just put in a little bit of ah gap there if I'm thinking that I won't be able to be precise enough to not get my brush to touch it now once I've done that then I can come over here and use something like the spot healing brush because now when it gets to the edge of the document and it tries to blend in with what's there I put the stuff over there blatantly that it should blend in with does that make sense hope they thought there should be branches there because there's branches above so let's do to the two together it's one chunk hopefully doesn't think there should be a monkey there there rita my touch up a few areas but so you get the idea that sometimes healing tools will uh fail you it's mainly when you come up and kiss something and that could include kissing the edge of your document and so if you need to catch kiss anything you want oh put in some artificial material there to replace there to make a little gap so you can have ah a gap between where you're gonna put your retouching in the monkey or between where you're going you're retouching in the edge of your document of material that's the right brightness the right color so you're just artificially giving it something to blend into thanks but having said that I'm gonna choose undo on this one or if I go to the file menu there's actually a choice called revert in revert means open the image fresh is it you know, get rid of all the changes I've made in reopen it it would be the same as closing the document and saying don't save and then reopening it when you're working on the edge of your doc humint as we've learned anything with the word hell attached to it is not going to do a great job unless you supplement it like I did you help it along but anything with the words content aware and does not have the word hell attached to it uh is going to do fine and the way we did the panorama thing was content aware technology eso content aware stuff doesn't just blend in with the surroundings it does something somewhat more sophisticated so I can go like this and I'm not gonna touch the monkey though because it might get confused might still get confused cause I went so close to it but I selected that and then do you remember the keyboard shortcut what was those keyboard shortcut for phil for the film dialog box it's shift delete yeah and then to click ok in any dialogue box you hit the returner in turkey, so turner enter you see how it did it and it didn't have a problem where didn't try to match what used to be their um and so then I click elsewhere but then be critical of it because I can see very distinct detail very recognizable, identifiable shape right here that I also see right there and that's what I mean by being critical of it, look for repeats and if you see any get in their shift elite return and then inspect some more, there will be most likely some repeats its just a matter of if it's obvious you need to touch it up in sometimes it's easier to go over in get the original instead of going where the retouch is because retouch looked pretty darn good and then when you try to get rid of that one little defect that screws it up a little bit so you could choose, undo and say no, I'm going to go get this source that it was copying from and retouch it out instead ed in just on occasion that works uh, fun so I could have gotten rid of these little holes that were in here shift elite return this same way so in photo shopped there is often more than one way most the time there's more than one way of doing things and it's a matter of choosing which one you are you know will be the quickest you know what? Take the least mental effort or whatever you're most comfortable with and I like working with things I'm comfortable with and if you're not comfortable with a particular feature it's usually because you're just not you don't use it much and if you just use it over and over again you'll eventually get used to it and you can keep it in your general repertoire of techniques so if I do it one way and you know of another way that you're more comfortable with do it your way but if your way fails it's awfully nice to know of alternatives so and that's it also when you're healing brush doesn't work and you switch overto content aware all right in this case I love this composition everything cause karen's mirroring the building that's my wife karen and kiss you don't know, but what I don't like is we have an open door on the right side and I can see light I could see that actually the sky in the distance through, you know the other side of the building and that makes my eye flick over too that portions let me open that and if you want to see the difference before we actually retouch it out I have the after I think here's before theirs after so there I look at the building and karen uh here I still look at the building and karen but my I can't help but flick over to that bright spot also you'll see other things I retouched out you'll see a little I think it's a garbage can that's right near the entrance in on the left side of the photo right where the building touches there's like a electrical box or something it's tiny dark little black thing but I'm usually pretty picky when it comes to my stuff s o that's what I did but yeah question well since you're making it perfect and everything and going through all that effort why did you leave that little piece of reflection on the side and reflect next to the window yeah right next to the sea right there I just was probably getting ready to go on the web site and it didn't do it I don't know it didn't bother me that's why it will bother some people don't bother others so pretty much in general I work on images until I run out of either problems patients or time and that means one of those things popped in in oftentimes it might be a time thing so I don't know in this one but yeah, I could re touch out that other area what I don't like to do myself is if I'm working on my own images that are going to be used like they hang out in my house or whatever or my fine art images that I wanted our image is that going to last for years meaning I'll keep them on my website my portfolio everything else I end retouching them I'll save it close it and I want to open it for a while open it where when I open it next it feels fresh again in then oftentimes I end up finding things like that because the initial retouching might have been something that was time consuming or mentally taxing and I'm like no, I don't want to do that but a month later when I forgot how mentally taxing it was then I'll tackle other things and then eventually what I end up doing is I make prince of what I like small and I put the money up in what we call the gallery it's the loo, the bathroom because I have spent time in there on occasion and usually sitting with this you know for some reason hanging out and if there's a picture in front of me I have a sharpie sitting there pen and mark it up if a picture can stay on that wall for you know, a week or so without getting a mark on it it's probably done but otherwise that's it's kind of part of my process we usually live in a model mobile home and our gallery is just this little room where is just empty walls and so usually just plastered with prince in a sharpie pen I don't know if you guys needed that much detail uh but I've never had to spell it so spelled are viewed like so anyway let's just see here if automated tools can work or not now the thing about this is the detail it needs to go in there is very specific is not it's not like clouds or even rocks where if I put a a different rockin that didn't really belong there it doesn't mean you're going to think it looks wrong but if it's somebody's face and I put it here when I supposed to go you're going to know right same thing here so usually when it comes to a re touch like this I wouldn't even try to come in here and use the features we talked about this far but let's do it because if it happens to work I'm closing the image we're moving on whoa you know you might think that but if you actually look at it and you make a print of that did that just doesn't quite do it although it could be a start you do it just to get a passion and then you come in and you manually fix the parts that uh don't look uh natural let's see what it does over here on the other side shift leap return it's not terrible but they're chunks that are obviously wrong so you could start with something like that and then retouch out what's what's wrong but I find too often that I end up later on discovering that something's wrong because my brain is just like all cool and then I on ly fixed the blatantly wrong in later on I just um zoomed out a glance over and I'm like I don't know what it is is that something over there is wrong s o I'm I'm gonna undo those things now I should mention about using this edit film dialog box most the time when I do retouching I don't want to retouch directly on the same layer that and close this okay on the same layer that contains my picture because if later on and make a print and I noticed something wrong there I might decide to look better without the retouching it or I might want to delete some of it away and if I've done it directly on the layer that contains the image then you know I can't really get it back too easily so I'm going to create a brand new layer and that's where I usually put my retouching and one thing is going to see if I can get this to mess up but you're going to find that frequently going to the edit menu in choosing phil he's gonna mess up when you have an empty layer active let's see if it'll mess up on this one it's unpredictable and sometimes it does sometimes it doesn't but we'll see if it gives me a warning dialogue right now it feels about the right there see that very common to get that when you have an empty layer that you are working on and it just says it can't do it there's not enough opaque pixels now if I did it to a small thing let's say this little bright spot their shift leap return still complaints well let's figure out how we could force it toe work how could we force it to work? Well here's what I'll do I'm going to duplicate the original layer there are many different ways of duplicating but what I'm going to do is what I do most frequently, which is a keyboard truck at uh but if you ever want to duplicate a layer and used the keyboard to do so you can jump it to a new layer. I say it that way because then you know the keyboard shortcut for it to jump into a new layer that means you want a type command j control jame windows now if you don't remember that because you hate keyboard shortcuts, you can click on the layer and dragged it down to the new layer icon that's another way of duplicating there's about four ways of duplicating a layer but I'm just mentioning command j if you're going to end up do cocaine layers a lot it's nice no keyboard truck it does exist now I'm gonna slit that area and now the edit phil will work it always works when you have a layer that's completely full of the image and now this is what I think is funny I could choose select inverse to get the opposite and hit delete and now I have exactly what I wanted before meaning looking my layers panel I have just the little piece now because after it was done doing its work I said select everything else I hit the delete key which threw away that part of the picture so if I were to do that chews on do here a few times if I had the layer underneath turned off this is what it would have looked like um select inverse I had chosen undo until I was back to the point I was at before and delete it would just delete it all those surroundings d select but usually the layer of the original pictures underneath so you don't see all the stuff go away but I end up having it on its own layer where it's just the little part of the retouching and so it's the way that I force the edit phil thing toe work when it complains now, when you have a complex document let's say I have a really complicated one that's got thirty layer is in it, it might be that I can't just duplicate a layer and get what I need because the material I'm trying to read touch is made out of, like ten layers, and so I can't just duplicate one layer and if that's the case, there is a trick. Let me do something to make this be created out of more than one layer. I'm just going to make it ugly. Okay, this there's more than one layer. This is in one layer. You see that's in a layer uh, layer below. This is what's in it. The layer below. This is what's in it. You have a couple ways that you can get all of this material on the one layer and what it is is there is a choice in here. That's called merge visible merge visible and if I choose, merge visible watch what happens to my layers panel? You see? Laters combine but there's a trick if you add the option key alta windows. I don't know if you remember or not, but yesterday we used the option, keith, for a few things and whatever we used it, if we were dragging something, it dragged a duplicate of it remember we had a layer style called drop shadow we held the option key drag it to another layer and it moved a duplicate of it well right now if I hold on the option key when I choose merge visible watch my layers panel it did it to a duplicate of the layers so it left the originals and it took duplicates and merged them so that's what I'd have to do right there if I had a complex document that now I wanted to retouch out the stuff that's on those other layers uh get the shift delete thing to work I would need to to hold down the option key alton windows when I choose merge visit well in that means merge a duplicate of those layers keeping the originals when you use modified to expand the image if you set the expand if you set to expand by more pixels say five or six would that help content phil correct for more complex areas of the field like on a brick wall or the images of the stone houses you know not generally okay that I can think if it would just retouch out five more pixels of bricks you know it just needs to not be kissing it needs to have just the one pixel of of overlap. Okay um chris wants to know if we apply sensor dust cleanup across multiple images must the camera orientation be the same or does or does it know that the camera or intestine has changed? It does know the camera orientation has changed because what happens is the raw data is just what the raw file just has. The stuff your camera captured and attached to it with text is the fact that you rotated your camera. Uh, and so the only reason photoshopped doesn't open every picture is a horizontal is because some of them are tagged as verticals, which means it just says, text that for that and so it knows, and it's it can deal with that so you could do both horizontal and vertical at the same time. Um, it's. Okay, all right, one more. Yeah, how do you take the red out of this skin on the face of a person, we can do it in a majority of ways, one of which is with hugh and saturation. With human saturation. You can isolate particular colors, and I can take the reds in, shift them closer towards yellows and make them a little less saturated.

Class Description


Adobe® Photoshop® lets you bring out the best in your photographs – learn how to navigate the powerful software in Adobe® Photoshop® 101 with Ben Willmore.

Ben will show you how to use the most important features of Adobe® Photoshop® by working through common, real-world projects and explaining the process. You’ll get to know the Adobe® Photoshop® interface and learn about the features you’ll use the most. Ben will teach you how to:

  • Enhance hair, eyes, and lips in portraits
  • Merge multiple images into a panorama
  • Fix bright reflections on glasses and closed eyes in a group shot
  • Correct photos that are under or overexposed
  • Create a collage of multiple images

You’ll learn how layers, selections, masks, and filters help you make a great image and find out why resolution, file formats, and color profiles matter. Ben will break down commonly-heard technical jargon so you know what others are saying and you’ll learn keyboard commands that will make your work easier.

By the end this class you’ll be confident and comfortable working in Adobe® Photoshop® and know how to troubleshoot when problems arise. 

This course is part of the Photoshop Tutorials series


Software Used: Adobe Photoshop CC 2014.2.2

Reviews

a Creativelive Student
 

Ben, thanks again for this course. I have taken and purchased quite a few of your courses to date. I keep thinking I will only watch to make sure I am on the right track and you always bring more to the table than the last course. Your teaching methods are the best, sorry to all the other instructors from Creative Live, but you are very easy to understand and you speak in layman's terms so we all can understand. I am following your instructions and working along with your files and it is the best! It is hard to keep up with you even when I watch you on one computer and work with the same files on another computer, to do what you are doing...impossible but I gain so much by trying. You provide so much info on each topic, it is amazing. Thanks to Karen for the PDFs, she does a fantastic job and also, for her templates/layout documents. Thanks again and to anyone who thinks this is too much money for all the videos, the exercise files and the instruction PDF, I am sorry to say but you are mistaken.

John Taylor
 

Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.

user-00c5e4
 

Ben, A note of thanks for a fabulous 3 day tutorial on Photoshop. I am new to CreativeLive site and just happen to stumble across your Photoshop 101 class online, wow I'm I glad I did. I've wanted to learn to navigate Photoshop for sometime but found myself becoming more and more confused and frustrated watching video instruction and reading various articles online. You have simplified the learning process by making the class material clear and concise; after 3 days I came away with a great foundation to build on in the future. Thank you!