Clone Out Problems In Photoshop


Real Estate and Architectural Photography


Lesson Info

Clone Out Problems In Photoshop

I wanted to clone out these two, these light bars here, if you will. And that is, you know, it looks like it took a long time. Like, it was, you know, but it's a very simple thing to do. And I will show you how I did that right now. So all I'm gonna do is this works on any wall that's a painted, solid color wall, something we obviously encounter every day when we're photographing architecture. I'm gonna take the pen tool, and I'm gonna do this rough and dirty, just to show you, in the interest of time here. I'm just gonna pen tool all around this brown piece of molding, and I'll do the same thing coming back. Pen tool around the contours there, all the way down, straight over, and up. And that ought to be plenty. And then I'm gonna turn that into a selection by hitting Command + Enter. And then I'll make a new layer. And what I'm gonna do is I'm gonna sample two colors. I'm gonna use the gradient tool, which the shortcut for that is G. It's this guy right here, underneath your paintbru...

sh, gradient tool. And I'm gonna sample a foreground color and I'm gonna come over here and sample a background color. And I'm going to set that to, instead of the linear gradient, I'm gonna go to the radial gradient, which is a circular gradient. So we're gonna get a color change out from the center. And again, any time there's like a painted wall I do this to remove light switches, or you know, like sometimes there's paint stains or nail holes or something. And I don't want to go in and clone every little thing. I'll just make a gradient of two colors, and I will just drag it out. And what you're left with, I went in the opposite direction. What you're left with is basically, basically the correct color and the correct gradient of light throughout. So again, that's the opposite. So I'm gonna switch my foreground and background colors and bring it out from the center. There we go. And that just single-handedly took care of what a year ago, to me, would have been two hours worth of Photoshop work. And again, it's, you know, like people who shoot portraits have their techniques with faces, I do architecture. And I'm telling you, the pen tool, make a gradient selection. It'll keep the natural transition of light and color through the wall still there, but it's just a great way to cheat. And I love cheating in photography, if you couldn't tell. And you know, you can clean it up very easily. And it's not until you're at over 100 percent that you see where it kind of falls apart. So in order to clean that up, I add a layer mask, I take a brush. I use blasts to kind of hide, and I just brush it out. And it's like it was never there. And then I come across to this side. And there's my pen tool line, and boom, gone. And it looks, like I said, it looks like they were never there. And I'll do the same thing here on these guys. Just pen tool, around, and make the selection. G for my gradient tool, select the foreground and a background color, and let's see, I will make a new layer. Sorry, drag out. And in order to sample those colors, there we go, you hit Alt and then that brings up your little eye dropper tool. And as you can see, I can add a mask here, can kind of cover my tracks very quickly by just brushing it out. And so of course, if I had all the time in the world to do this, I would go in and be very precise, at 100 percent, but in the interests of time, that's the technique. Very simple, and you will run into situations all the time where you see this stuff, and that's how I get a perfect gradient of color and light without spending too much time agonizingly cloning little things out. So I'll get rid of those, and I will show you. I took, maybe, 20 minutes doing this. And let's see. There we go. And there's what my end result looked like, and it's pretty seamless. And it's the same technique that I just showed you. You'd have no idea. And it looks like, you know, it's like the thousand dollar retouch job that I just did, like that. So quick little tip right there. Okay, so moving on. I have this next photo here is called the Clown Move. In all of my excitement to shoot this, in turning the breakers on and off, I completely forgot to light up these hallways back here. As you can see, the lights are off. I just oops, just completely escaped me. So what I had to do was I actually cloned out one of these lights and I added them in in each of the cans back here. And it looks kind of cheap, if you get up close to it, so I had to save it with some masking and some curves. So I went in and I kind of brightened it all up, and I'll zoom out so you can see. It's a little thing, but it really bugged me. Like, on a personal level, because I'm so intensely focused on doing this and doing a good job that I missed a very easy thing. So there's my lights in the corner turned on. And then what I did next was, I'm pretty happy the way it looks. I've got my lights added, I've got my, you know, the bar is cloned out. I had to go around and do a lot of detail cleaning. I went through and I just cloned out all kinds of different, you know, the fire extinguishers and like here's a cloning example. I'm actually not too thrilled with my clone job on that, but again, in the interest of time, I did it kind of quick and dirty for you.

Class Description

Photography is commonly used to sell, document, and advertise buildings, homes, and spaces – join Mike Kelley for an introduction to the fundamentals of real estate and architectural photography and how it can bolster your photography business.

This course will debunk common myths about architectural photography and share best practices for working with real estate agents, architects, interior designers, commercial clients, and editorial outlets. You’ll learn about the best approach to photographing any subject, whether you’re representing it realistically or embellishing its features. You’ll also explore lighting, staging, and infusing your unique style into your shots. Mike will also guide you step-by-step through the process of capturing an architectural image – from planning to shooting to editing to client delivery.

If you’re ready to gain a more sophisticated understanding of the architectural photography principles all the pros know, this is the course for you. Whether you want to learn more about breaking into this growing market, or add more advanced skills to you own photography, this is the course for you.


a Creativelive Student

Enjoyed this class. Took it to learn more about architectural photography because I know little to nothing about that area of photography. I feel Mike gave a solid introduction in the how-to's of getting into this business, offered some good outside sources, gave good supporting personal stories. Would have liked to lean more about balancing light color and to be referred to some outside sources on learning more about that. Overall, I feel this was a solid intro to architectural photography.