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Retouching: Building and Clone Source

Lesson 42 from: Adobe Photoshop 101

Ben Willmore

Retouching: Building and Clone Source

Lesson 42 from: Adobe Photoshop 101

Ben Willmore

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Lesson Info

42. Retouching: Building and Clone Source


Class Trailer

Day 1


Adobe Bridge Basics


Sorting Images in Adobe Bridge


Processing Images in Adobe Camera Raw Part 1


Processing Images in Adobe Camera Raw Part 2


Image Processing Q&A


Contrast and Color


Adjustment Brush and Auto Mask


Lesson Info

Retouching: Building and Clone Source

I don't want to finish this image just because you won't continuously learn if I d'oh what I want you to do right now is continuously learned, so let's open another image that would be a a challenge, and we'll look at one other part of the idea just going to do let's correction on this, okay? And they make the highlights a little darker clarity up. Okay, let's, open this image. They use this image a lot when I do teach retouching because it's one that if you mess up on it, it can really be obvious when you go to any of these retouching tools and you try to copy from an area, usually you couldjust option, click on one spot, move over to another and you see a preview within your brush. You try to get to line up, get tow line up if it's specific detail like that click and drag like this and we can apply it. See the window starting to come in the books. I'm going too far so much I have to choose, undo and do a little bit there from somewhere else but that's just straightforward copying. So...

metimes you need to get creative, so let me show you. Amore creative retouch after I do this little portion. See, I'm getting too much him because I started copying from the edge of the tree again. But let me show you how I could just copy from the other side of the building. If I copied from the other side of the building, we're going to run into some issues because we should have, like, if I wanted to copy. Let's, say this portion right here to use to replace the top of the tree over here. I need to reflect it. Wouldn't I flip it over? No, I could do that. Using my selection tool, I could select this whole side of the building. I could copy it. Copy merged is great out because we don't have any layers. If we add a lair, it will be available. Choose paste. And then I use my move to on. Just move it over. Thank you. Over here and say I want to flip it horizontally moved over further. And if I want to see how it's going to line up with what's underneath, because right now, it's hard to see. I could lower the opacity passively. Allow me to see through the layer to what's underneath it. What's underneath it is the original image, so if I click on the word opacity at the top of my layers panel and I bring it down I can start to see underneath just a little bit and I could move this around and see it lines up and it looks to me like I'm going to need to rotate it and do some other things so I can come in here and choose edit you remember that choice called free transform that's what allows you to rotate and I could rotate it and I can click within it and move it up right now it's just getting this little part tow line up like that if I turn this off and on now can you see how it's somewhat lining up a ce faras that edge goes? I'm not paint trying to get the full bottom line up but I'm trying to get some of this the lineup looks like I still need to fix a little bit on the left side though because it's not lining up with the rest of the building you see it tilts as I bring it in and out well when I come up to that same thing called free transform just below it are a few other choices uh some of them are useful, all of them are useful it's open would be useful in this particular case what it was called the store what distort does is it gives me these handles but I could move each handle independently see where I convention the image like this so I sometimes need to do that you just stretch this up to make it a little taller to match exactly where that tower would be I was looking right in this area to try to get it to line up and then I might just move this a little bit keep that one edge I'm looking right now right here to see if that edge lines up and then move this again and make sure this stays you wanted donna press return a renter so now if I look at this I'll bring my opacity up and I just turn this off and on and watch the two areas I was looking at which was right here and right here well let's see from anywhere close to keeping them lined up not overly bad compared to what we had before which was quite a bit off then I could either use the eraser with a soft edge brush or if I need to brings marius back I can use the ah layer mask laire mask just like we did with compositing create a new layer I end up crying a soft edge brush keep the tower from the original and at least maybe up to here but then we got that tree coming in so I need to bring some of this back hit. Ex to paint with white that means bring things back get that to blend in but up here the sky is on the two at least blend it. I should have copied mohr of that image so I could use white sky up there and down here, the bottom, wherever it stops lying up is where I'd have to stop here. So for now I'm going to come in and try to let it use this vertical part use everything across here who got the tree trunk but in that part I would re touch out manually. Uh then I can come up here to the corner and there I can use something like content aware phil to have it, uh, deal with that. Ah, content where phil, though, doesn't always like working on empty layers. So here if I tried on an empty layer, phil content aware let's see if it complains, yes, there was a trick though, and that is if you held on the option key and you said you wanted to merge visible layers emerged a copy of those visible layers on there and then it will work. I can then select the opposite and hit delete because I only wanted that one little chunk in that layer and now we have those two pieces that have to retouch the bottom that's everything but you see some ideas but I want to show you then how could I do that without copying and pasting like that? How could I do that actually using my normal retouching tools because you can let's say I wanted a copy from right here usually you option clip to copy from somewhere and I want to apply it over here. Well, the problem is I would need to flip it horizontally in order to get that to happen in order to be able to flip it horizontally when you're using a retouching tool like this one you have to do the following there's something called the clone source panel look what it has available in here this is the width and height of whatever it is I'm copying I can scale it up or down by typing in a number there like type of ninety percent now it'll copy but when it puts it in it will put it in a ninety percent of its original size if I put the number ninety in there this is an angle setting. If I wanted to rotate something I type in a number there and it will rotate before it applies it and there are little icons here this one and this one and if I hover over it'll tell you what they mean that's going to flip it horizontally right there so I'll click there and now if I look at you the preview that I get into my brush can you tell that has been flipped? I'll make my brush larger here he see it's been flipped but if I look at it, it looks to me like it's at the wrong angle doesn't look like it's going upward as it goes towards the right so let's see how I'd be able to rotate it over here we have rotation that's what this number is what I usually do is I just click on the field to make it active and then I moved my mouse on my image so I can see and I'll use the up and down arrow keys the up and down arrow keys will take the number that I clicked on an increase it or decrease it so could you see it was moving? I'm not sure if you could or not, but what happens is if you use just the arrow keys, it changes it in point one uh, like a desk melis, what is changing? And if you want to do it a greater amount you can hold shift shift is like turbo it means changing a bigger amount, so just stare at the circle or my brushes here and all increase it just so you can see it rotate in there can you see it rotating and so I can sit there and just watch if I hold shift that's when I get to do it a lot and then when I get really close to what I need I let go shift and now it's doing it a tiny amount then what I do is I click when I think it's lining up just right and then this is weird click and then choose under ooh what happens is I clicked when I had a huge brush so I could see how it would line up with a lot of different things in the image I click to establish that this is where I'm going to put it but then I chose undo to say I didn't want to put that big of a thing in there and what happens is when I clicked it locked it in meaning it remembered where I was going to put it do you notice that it's not moving around anymore instead the little peace I was going to put in I still see in there I can get a smaller brush now get a smaller brush and I can come in and just start painting that in so I don't if it made sense when I said I clicked on that I chose undo but what happened is let's say I'm going to copy just to make it straight forward I'm gonna copy from the neon sign and let's say I was going to if I clear this stuff out yeah and I'd want toe put the neon signs so that it looks like it's over here instead on this ledge. Well, if I have a brush the size that I might actually wanna use at the time, I'm applying it it's hard to tell when it lines up, but if I get a huge brush, I can see where the base of the sign was, and I could move it around and say, oh, right about that there would make it look like it's on that ledge, and what I can do is just click the mouse toe, lock it into say, yep, that's, where I'm going to put it, but I didn't want to put that big chunk in there, so I choose undo and when I choose on do it's still remembered that I clicked there, it locked in that that's where the end result is going to go, but now I could get a small brush and actually go to put it in so I could be working on just a little areas that I needed. But the big brush was useful to see how it lined up with all the surroundings. I'm not saying we need to have a sign over there, but so this thing called the clone source what I do with it. Is there's a whole bunch you can do and that's beyond a one a one class when it comes to everything it could do, but the main thing that I find to be useful is here for rotating because oftentimes I need a copy from like the edge of a cliff implied over to this other part of the edge of the cliff, but it just needs to be rotated slightly to line up and that's where you're able to do so, you could also scale with ease in with those as well. You can click on it and if you tell it you want to copy from one thing and you see the preview in your brush, I just click on the number and then used that up and down arrow keys and you see it getting smaller for getting bigger. I'm holding shift right now it gives you turbo and then I let go shift to do it small amounts and I can get it sized just write what could that be used for? Well, what if I need a copy and eyeball off one side of somebody's face, flip it and put it on the other side of somebody's face, but that other sides a little further away from the camera something or their eyes supposed to different size? Well, I can scale it there I could rotate it slightly, all that kind of stuff I usually click on the numbers used up and down arrow keys so I can see it in my brush, and then when I like it and I'll lock it in, you compress returner, enter if you'd like that will end up locking this in, or just click your mouse button to apply it, and it will end up using that setting. When I'm done, I set us back a hundred there's a whole bunch of things that that the clone source panel, khun dio I just find that most people don't know it exists if you ever need to scale rotate things, because most people I find usually resort to having to select copy, do a new layer used free, transforming things, and things aren't always convenient to do it that way. S o in this case, I just wanted to show you this thing called the clone source panel. You won't probably find it on your screen right away, so you'll have to go to the window many, you and that's, what you'll get to clone source under the window menu is called clone source pretty much any of these panels that I open if it looks like this, a little panel you could move around will be found under the window menu, so the future, if you're I need to use the layers panel and it's not there go to the window menu you'll find it need to use anything. So what questions do we have about the clone source panel and possibly about the the individual tools we've been using although there's more we can do it it's just, uh, wondering question wise we have a question when retouching what's the difference genies in an empty layer and doing it on a background copy well, a background copy first off, what they're saying is what's the difference between having and empty layer sitting above that you put your retouching on or duplicating this layer completely in doing the retouching on the duplicate and therefore you're maintaining the original case you screw something up well, first off duplicating the original you just doubled your file size because we have two pictures now instead of one that's not necessarily a huge deal because hard drive's don't cost that much these days, but file size went up a lot more. The other thing is for me to see where I've done any retouching I would have to like let's say retouch something out I would have to turn off the eyeball in this layer often on often on to see what's changing in my image where's the change and sometimes the retouching is subtle so you can easily tell where is it by just turning the eyeball on and off, whereas if I had done that on an empty layer, I can easily see with retouching it just by turning off the original layer underneath, you'll see every single retouch spec anywhere in your picture, it's. Easier to locate where you've performed retouching, because if I just turn off the bottom, the base image, I'm going to see blotches all over where the retouching has been performed. If I open a riel finished two retouched image, you'll see that little better. Ah, here I'm going to turn off the layer that's underneath. Do you see where only retouching is easy to locate? My file size was a smallest that it khun because there's nothing extra in there to bloat my file size. Uh, and if I want to remove any part of this, I don't suddenly have a hole in that layer where now retouching tools might not work on their, whereas if it was a duplicate and I wanted to bring it back to the original version is a little more complicated. So that's the thing I should mention, though, that certain retouching tools can work a little bit faster if you work on a duplicate layer instead, there's a little less calculating happening s oh, there is one advantage when it comes to that but in general I like working on an empty layer because then if I just turn off the layer that's underneath I can easily see exactly where every piece of retouching is other questions how many objects can clone source remember? I think it can remember five if I remember correctly let me look one, two, three, four, five yeah so this is something where up here there are five icons those air five different sources. What that means is if I were to tell it that let's say I was in the normal uh uh clone source normal clone stamp tool I came over here and told that I wanted to copy from the top of this area get on the layer I wantto performing retouching on and I just option clicked right there to say that's where I want to copy from and you see it and I said I wanted to put it over here too make that thing taller so I click and I apply it usually if I were to go now and decide to copy from a different area it wouldn't remember this relationship here so I couldn't go back and touch this backup easily I'd have to re establish that this is where I want to copy from and this is where I want to put it but if I do this change once and before I start working on a different area I click there then I can establish something else. I want to take this whole that's here option click and I want to put it somewhere else over here now that is being remembers which known as the second clone source so let's see what I could d'oh? Well, if I click on the first one it remembers I'll turn off this retouching layer and created new one. It remembers that I was copying from there and wanting to put it here. Do you see how it's still showing up there? He remembers that if I switched to the second one, it will remember the relationship between those two again. It just remembers I was copying from one area and appliance somewhere. It remembers that distance that that it was moving it and you can store up to five of these for most people that is more advanced than you need to get into the time. But if you're doing overly advanced retouching if I was completely manually copping these guys out in to replace the rocks down here I was copying from right here and to replace the bushes I was copying from over here somewhere I could have it remember all those spots so I could switch back and forth and back and forth again and again and if you have crazy ridiculous retouching, which I often have, um then those air useful and that's. What these five things are so you can switch back. And it will remember where you had been cloning from. Previously on, nip up to five.

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Ratings and 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.


I had several "lightbulb" moments with this class, after many years of photography and when you think you know it all, you don't :) Ben Willmore is an excellent tutor, with his many years of experience teaching PS, he obviously knows the types of things a lot of us struggle to understand. I learnt a lot about Bridge, and have since implemented these things into my everyday workflow, so much easier to sort out what I want to keep etc.. Thanks so much Ben and Creative Live. Thanks also to Ben's wife for her amazing work creating the Guide etc. Even though being in Australia, I pay more for the courses (the conversion rate, the aussie dollar is low at the moment) it's very worth it to me. I have paid more for courses here, and learnt next to nothing. Thanks again.

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