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Sculpting Techniques in Photoshop

Lesson 2 of 7

HDR Merge & Sculpt

 

Sculpting Techniques in Photoshop

Lesson 2 of 7

HDR Merge & Sculpt

 

Lesson Info

HDR Merge & Sculpt

in this case, I want you to look at these three photographs because there's something interesting here that has to happen. There's actually a couple notice that I'm looking up at this building, right? And so we're gonna have the same problem we have in the other one that I don't like looking up at buildings, cause then there's that parallax issue where they kind of the taper off of the top. Right? So I want to fix that. But I also want to fix something else. You see those birds? I actually want more birds, so I actually want to ADM or birds into this photograph. Um and so what I'm gonna do right off the bat, I'm gonna highlight all these an inside of light room. There is the option to create what's called an H d. R. So the HDR is basically when you have three different images ones, dark ones, middle ones light, and then you merge them in order to get one deeper photograph that has a lot more latitude in it. But you can also fool it, and I'm going to right click this. I'm going to go in...

and I'm gonna emerge this is an HDR and light room is going to open it up and try and find the differences between the photographs and because they're all the same, it's not gonna change anything except for the birds, because the birds air darker and lighter right? And so it took all of the birds from all of the different shots and put them together. It's just a really easy way to put extra stuff into a photograph. So, for instance, if you locked your camera down on a tripod and you were photographing people walking around, you know in a square you could photograph 100 of those and merge it and have thousands of people in a square instead of 10. Right? So there's just tricks you can play. So it's it's just an interesting little bit. So I'm going to merge those guys, right? And I don't need to worry about the ghosting cause I actually want ghosting when you do HDR. If you do ghosting high loan me, it'll get rid of things that are moving across the frame. It will be like, Oh, that person was here and here so we'll just use this version of them and leave that out. We want the birds. So we're just gonna say none on the ghosting, and we're gonna hit merge. So it's just merging an HDR version, which is still raw. So it's a raw DMG version. It's right there. And you can see that I've got a lot more birds. So it just looks like that I had more birds flying by which I think is more attractive. So I'm going to do that right? Okay, so now that I've done that, I can then go to my, um, transformed tools. So we're gonna go back in to the develop module and we got to take care of this skewed look, so we're gonna do the transform tool again. But this time, when we do it, we have to go into photo shop to do some extra work. So I'm just gonna grab onto that spire right there, and I'm gonna go straight down like this, and that's kind of the the basic structure of that church. And then I'm gonna come over here and I'm gonna grab an edge of a window right about here, and I'm gonna come down this way like that there. That looks better, right, But notice what it did. They added white on either side. And the reason it's adding white is so that you can fill it in so you could go in and fill that in, or you could click on constrained Crop. If you do that, it Onley crops in what it can create or what it can see on its own. But that's kind of a lame photograph. So we're not going to constrain the crop. We're gonna keep that white edge. And now, um, and let me do a little bit of adjustment and it just so that we have it looking pretty nice right from the get go. There we go. Okay, so now that I've got that all done, I'm gonna actually go and I'm going to, right? Click this and I'm an edit it in photo shop. So now I'm opening up photo shop, and we're gonna go into photo shop and fill in those areas so we don't have them. They don't exist, but we can fill them in, so we have to then select that area that we want to fill in. So I'm just going to go in and select this area here. This is the area I want to fill in, right? Like that. Okay, so I should do this with my pen tool. So I'm gonna hit the shift key and add a little bit more right there. Okay, so that area is the area that needs to be filled in. Um, it's we're going to try and get it to do it automatically on its own. So at that point, we're going to go up to edit. Oh, and we can't fill on a smart layer, right, because it's referencing a raw photo. So what we're gonna do is we're gonna go in and we're going to duplicate that layer. And this time we're actually gonna rast arise that. So we're just going to say grassed. Arise, layer. So now it's no longer a smart object. It's a it's a real photograph instead of a raw photograph. So now that we've got that there, and what you would want to do is make sure that you loved how you had finished your raw photo before you went to do this. And so now I'm going to go in and edit Phil, and then I'm gonna go to content aware. So once I'm doing content aware fill and I hit. OK, it's going to try and replicate that area. There we go. So there are some problems, but it's far. It's far better than trying to replicate it yourself. There we go. Okay. So do you see where the problems are? Like the window got hiccupped right there. A little bit of a hiccup right there. And then, of course, this was a big problem right here because it tried to grab a piece of this. Okay, so So what we can do now is just go in and clean up. So now we're gonna start cleaning up this What we're gonna do is we're going Teoh usar uh, stamp tool. And the stamp tool is quite nice because you can click on here. And generally, what I'll do is I'll say, Okay, I want to click on a window that similar to this window, and then I'll finish it out. So I'll go here to the edge of a window, see how that one goes burn and it jumps up. So what I'll do is I'll grab on this window here, click on it like that, and then I'll go to the same area on that window so that it matches and I'll click on that and then just kind of run up. Um, I not Oh, my tool is wrong. So it's on dark, and right now I need it beyond normal, and I needed to be 100%. Okay, so I'm gonna go back to this area, so it's I'm clicking here. So I hit the option key and click right at the edge of that window right there and then I'm gonna go to the same place on the other window and click it and then drag it and see what happens. So I'm I'm fixing that area now. I might have messed up something else. And so now I just have to race out of that so you can always go. You could do two ways. You can either make a new layer to do this, or you can simply do the history brush back before that clone. So you just history by just click on right there, right before you were cloning, and then go to your history brush. Oh, that's right. Where are you? History? Brush my history. Brush there. History brush, and then I would just see that I'm painting in. But I'm only painting in the areas that I want to come back. See that? So I'm painting it in, and then and then you go back to your regular stamp tool and then you do the same thing coming down like this and you're just gonna clean in those little areas. You can see another little area right here where we need to take care of it is right there. See that? So we would just stamp hold on right there. And then if you click right where that cross bar is, then you come down here and click, then see that and it fixes that window. So you just go around and look for things that you can see and and really, what you want to do is zoom out and look at the entire thing and maybe go into like, a print size and look at it to see where would I actually see a problem? That's where I want to fix. But if it's just a little hiccup that you can't see it a distance than you don't necessarily need to worry about it. So you just kind of work on those and then the other one is this side over here. Now, this side is going to be a little trickier, but it'll it'll work pretty decently, and so I'll show you how to do it. But what we're going to do on this side is we're actually gonna copy that layer. Then we're gonna go in and we're gonna create this selection over here, and we'll again do at it, Phil. And then we're gonna content aware, and it's going to replicate this building here, but it's also going to draw a lot other stuff. So it's gonna be a little weird, right? So it's a little bizarre, but what What? All I want from this side over here is enough space that I can get an appropriate crop. So really, all I want from this side is so I'm gonna go to my crop tool, and what I want is to be able to have an edge there. That's all I need. So I've got to fix this little area right here, but notice how well it gave me this area right over here, filled in that sky quite nicely. So now All I need to do is go over here and try and fix this area. And the only way I can do that is to simply go to here. And I'm going to copy this whole area right there. Copy. Paste it. And then I'm gonna go in and just drag that over here and match it up with the appropriate. See how that one needs to go up. So I'm gonna appropriately match it to I wish that little thing wouldn't come up, but right like that. And you can do a better job if you take the opacity down so that you can actually see because it has to, like, fit right there. They're just like that. Okay, so now that you have that, then it's just a matter of going in and selecting and racing past this. So I'm gonna go to my brush. I'm gonna create a, uh, every know how to create a, um, a mask. Right. You click on this little thing right here. That looks like a whole So that's the mask. So we're gonna add a layer mask, click on it, and then anything we paint black is going disappear. So we'll come down here, make sure that our color is black in our brush. And then we'll go in and erase that out until we get right to the edge of that. And now we've got you. See what I'm doing? And so then if I went all the way around and I would do a little selection and get rid of all of that and I will end up with a zoom out, see that? So I just extended that building out by repeating the pattern. And then when I go into crop it it will just be a matter of going like this. Yes. Now I've got a perfectly structured photograph. Even though I had to look up at the building Now it looks like I was looking forward at it, and the content aware fill helped to fix a lot of those issues right off the bat.

Class Description

So you have an amazing shot (landscape, portrait or architecture) but it needs some sculpting, there aren’t enough birds, the dress is too saggy, the perspective is off… we can fix that. Jared Platt will teach you how to sculpt your photographs in Adobe Photoshop to create perfected masterpieces in minutes. You will learn which tools to use to get the job done quickly and how to create realistic alterations of reality. This class is perfect for photographers of all levels except for strict photojournalists, who should run away screaming!

We'll Cover: 

  • Taking Care of the Basics in Camera RAW 
  • Changing Your Perspective 
  • Reworking Your Landscapes 
  • Sculpting Humans



Software Used: Adobe Photoshop CC 2017

Reviews

Steve61861
 

I am an intermediate level user of Photoshop, and I found this course to be quite helpful. In each and every video in the course I found one priceless bit of information, and often more. The video about Puppet Warp was a short introduction, which was perfect for me because I had never even known it was a feature in Photoshop. I disagree with Sam as I personally do not view Liquify, Puppet Warp, and Photoshop Actions for Burn and Dodge as beginner topics. I found this course to be outstanding for Ps users up to advanced beginner or intermediate levels. Very good value, great instructor.

sam
 

This is only if you have very little knowledge about "Photoshop, if not is a Waste of money, nothing new and boring.

a Creativelive Student