Cloning to Reduce Shines and Shadows


Photoshop: Content-Aware & Cloning


Lesson Info

Cloning to Reduce Shines and Shadows

Now we're in folder number twelve if you're following along at home so let's take a look at another use for the clone stamp tool and that is to reduce shines and shadows. So for this one we're going to be cloning from one part of the skin to another part of the skin but at a very low opacity so that we don't go overboard because remember the clothes stand tolins and what brought ban the copiers so you don't want to copy too much skin from one spot to another, but what we can do is if we greatly reduce the opacity of the clone stamp toll itself that it it then it's doing just a partial coffee and that gives you the ability to build the effect by painting, releasing your mouse button and assessing are evaluating the image and then continued to paint a little bit more tio clone a little bit more so you can think of it as a partial copy. So if I toggle the visibility often on on these on this layer that I made for you can see so here's our before you can see the shines and shadows especial...

ly in this region on the dad's head and down here on this news and kind of left side of the the daughter's face so here's what we're able to do very subtle with the clone stand tool so a subtle retouch but a big difference and sometimes those hot spot, you know, there's nothing you can do to not have them in your shot so it's good to know how to fix him in post so let's, go ahead and turn the visibility off, or else go ahead and delete that later for you but here's an example in the exercise files of how I've said at the layer naming for you so I'm telling you right here, what? Till I use on that layer and I'm also giving you any extra information tonight kentucky in there like, make sure to set it at a ten percent capacity. So hopefully that's helpful teo, you saw make my layers paint a little bit smaller again, we'll go and delete this guy. Now you do see that I've got an adjustment layer going on here, that's just a levels adjustment layer that's fixing the color in the image so there's the before very flat and there's the after, I like to put these adjustment layers in there because I fear you guys at home, we're not dealing with single layer documents. I mean, you've probably got multiple layers and your document so let's, go ahead and create a new layer onto which we're going to do our shines acting so shift commander shift control in for new layer and we'll call this shines be gone and our clone stand tools already active oven options bar we want to make sure that we lower the opacity to about ten percent, then we're going to make sure that the sample menu is set to all layers so that's going to look through everything here now we're ready to go ahead and start our cloning so what? Zoom in a little bit more this is another high resolution file that I'm going to give you guys so you can really zoom in and do this stuff for riel on a practice file, so we'll use our left your right bracket keys to go down and brush size and the first shine we want to fix is this area right here. So what you want to do is just set a clone source point that's this close to the shiny area as possible to match in tone and texture and that's probably about this area right here to fix this spot so we can go ahead and option or all clip to set our sample point and then mouse over to the shiny area maybe go up a breast size a little bit and just began to paint and as you do as you keep building this effect, so I'm painting a little bit, releasing my mouse button and assessing that I'm painting a little bit and releasing my mouse button and assessing to lessen that shine so here's the before here's the after now, this is one instance where that overlay can get in the way. So what you can do to turn it off? Just pop open that clones clotheshorse panel and toggle that show overlay off. So now when you set a sample point or we'll set one up here and trying to fix the area than inside of the brush cursor, you're actually seeing the result instead of the overlay. So this is, since I would turn off a really but cloning actual objects to duplicate them in your photo, I would leave it on because it really helps with positioning so you can see that this is a subtle retouch, but it's really, really helping. So this is from what I've experienced, I'm gonna go out on a limb and say the easiest maybe even the best way to fix shiny areas like this hot spots. The key to making it look realistic is dropping that opacity of this brush way down so that you can fix them as a build effected by build I mean payment of it release your mass been paying a little bit relation has been so you're adding ten percent of a copy at a time instead of even if you learn the opacity tio even let's say twenty or thirty percent most likely it would be too much of a coffee just right out of the gate, then you'd have to start over and, you know, that's not any fun. Now we can use our space far trick to mouse around within our image and we can come a parent fix these areas, so for this one, I probably start the clone from in that region and then to start painting, you're not going to be able to remove the shine realist basically one hundred percent, but you can certainly reduce it to the point where it's not nearly is noticeable. Just be really cognizant of where you're sampling from because you don't want that clone source crosshair and you guys see that little plus sign that's moving around with my brush that's, marking the point at which your sampling from what you don't want is that point to ever get into a shiny area, because then you're just repeating shine so in other words, if I said a clone source oh, from right here and I start painting, painting, painting well, see, now that plus sign has gotten into the shiny areas and now I'm duplicating shine, which is not what I want to do, so just really be careful about where that little plus sign issues that tells you where photo shop is cloning from be careful of painting over any wrinkles I mean, this is seriously so detailed retouching work but after a little while you can certainly knows the difference so there's the before all screwed up a little bit sinks to the news to you hey so go away told him there's the before and there's the after so quite a big difference but a subtle retouch nevertheless so we come over here and do the same thing on the daughter now you might want to do this on another layer if you've got multiple people in your document that you're working on different skin tones and stuff he could create another new layer you know whatever you want daughter shines and then just do the same thing get us close to the shiny spot as you can try not to duplicate freckles and stuff but it's with this particular technique it's doubtful that you'll you'll get the point of duplicating a full on fraggle because you just won't paint that much to make the copy one hundred percent so we're really just reducing the shines and shadows so will the shadows here in a second you can use this exact same technique to reduce the shadow chat shadows from say, a double chin or even shadows and wrinkles so we'll go up and brush size to get this part of her cheek here other reasons you might use this exact same technique is if you've got somebody who's got uneven skin tone this will help even it out if you've got somebody who let's say um the eye shadow you need to do a little bit of makeup retouching this would certainly work you've got somebody he forgot to pluck their eyebrows this would also are apparently we got a little bit of that going on right here listen those little dark spots so there's all kinds of of uses for this ok we'll see how far we've come on the daughter here so here's our before here's our after all the mental did because it's pretty subtle so before after so we've definitely reduced those shiny areas so you could even fix the lips if you want not that there's anything bad with him wrong with them they need fixing per se but if the shine is a little bit too much on lips or teeth or what have you this is a great technique to reduce that so now let's take a look at some of the shadows that we might reduce I might think about reducing a little bit of this shadow on the lower left portion of her face and neck there I would definitely reduce a little bit of this shadow over here just to make the double chin less noticeable nothing wrong with double chins at all so let's add a new layer onto which we're going to do this level of retouch so shift command in shift control in I'm going to call this shadows maybe dad and then we just do exactly the same thing zuman mouse over to where the problem spot is activate the clothes tamp total make sure you've got all layers turned on and make sure that that capacities down to around ten percent now does that mean you can't try to fifteen percent obviously not the capacity police are not going to show up on your doorstep that would be pretty funny but I find that ten percent at least in my experience is the most forgiving. So now we're going to sample a non shadowy part as close to the shadowy part as possible and then we're just gonna start to paint that away and that amazing even just a couple little strokes like that look at are before and after there's our before there's our after it just lightens it just enough where it's not the first thing that your eye is drawn to you there are more extreme ways methods that you can use to get rid of things like double chins and all that kind of stuff but this is one that works really, really well and if I wanted teo I could seem really far in and I could get into those creases right there for this particular image is not gonna make that much of a difference but was to see how far we came okay? So here's our before so watch this area right here so there's our before and there's are after it probably stand just a little bit more but you guys get the idea of what we're going for here now it's create another new layer in this call this shadows girl and we consume in and we can begin to fix this area right here so he come down here sample a non shadowy portion of skin as close to the shadowy area as possible and then this kate painting across that area to remove it all the while being congressman of where that sample point is and that's that little cross hair that's following along behind your brush cursor ok so let's take a look at the before and after on that area so here's our before and here's our after so all kinds of uses for this you can think of that is a like a selective shadow shine reducer but the kagan is to lower the opacity of that closed and tool so that it's a build effect and you don't go too far just right out of the gate. Any questions on that particular technique? Indeed, simcox had a question about the reducing shine technique do you ever set the layer blend mode two luminosity or a different selector to help preserve colors or have that have that retouch appear more realistic for this particular one? I usually don't change anything like that you could certainly try changing the layer bloom a tio luminosity I've seen a lot of people do this technique and they changed the mode of the clone source tool itself close stanton itself hasn't do anything it doesn't matter it just doesn't marrying changes all day long I see people say well if you're going to fix shiny spots they needed you need to put the tool in multiply mode it doesn't make any difference or if you want to fix shadows you need to put the tool in screen mode which will lighten okay, this doesn't make any difference I mean try it and you'll see that you get the same same results but what you might consider doing is coming over here to the layer blend mode of those pixels and you might try change in uh oneto luminosity, which means it's just going to affect lightness values so let's look at the area down here on her skin before and the after so let's see if we can tell the difference between changing it from luminosity to normal. I really can't tell much of a difference, but there may be some situations let's say you're doing this technique to remove other either a shiner shadow and you do start to notice some color shift then you might put that layer in luminosity mode tio keep that from happening, but nine times out of ten this is such a subtle retouch you're probably not going to have to de those exorcists but what you can t let's say you were retouching retouching, and your final evaluation of the image revealed that you've gone a little too far with either your lightning or your darkening. Well, rather than go back in and try to fix it with a close stamp tool, just drop the the I'll put this back to normal. Just drop the layer opacity of that particular layer, and that will reveal more of the original image that lives on layers underneath. So that's. Another benefit of doing every sing level of retouching on separate layers, is so you don't have to start over.

Class Description

Ready to take your Photoshop skills to the next level? Join author of the best-selling Photoshop: Missing Manual book series, Lesa Snider, for a full-day immersion into Photoshop’s Content-Aware technology. Lesa will cover everything you need to know about Content-Aware technology, in which Photoshop intelligently analyzes your images for optimum results when resizing, removing, or moving objects around. You'll learn concrete and practical uses for all of these tools including Content-Aware Fill, Content-Aware Move, and Content-Aware Patch, plus you'll learn how to use alpha channels to get the absolute most out of resizing your images for specific output sizes with Content-Aware Scale. And when these tools don't do a perfect job? That's when the Clone Stamp tool comes in! By the end of this deep dive, you'll have mastered the art of using all these tools non-destructively for maximum flexibility when editing your images.

Software Used: Adobe Photoshop CC 14.1



This is a great course. I work for a clothing company retouching and post processing photos of the models. Being able to remove wrinkles from clothing and make it look natural is critical. Lesa does a great job of teaching the various methods of repairing everything from wrinkles, to color and texture. I go back to it often when I feel I'm missing something.