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Healing away the sockets

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Healing away the sockets

Alright, now that we have cloned this guy into his new home, it's time to heal away the sockets. We are going to get rid of this socket or whatever this thing is along the floor and we are also going to get rid of these two sockets on the baseboard. We are not going to worry about the other ones because that's just a lot of busy work, you can do that on your own if you like. And we are going to do this healing inside of the vanishing point filter. Now, first, let me show you why it's so essential to use the vanishing point filter for this kind of stuff. Notice that we do have some perspective associated with this baseboard.

Healing away the sockets

Alright, now that we have cloned this guy into his new home, it's time to heal away the sockets. We are going to get rid of this socket or whatever this thing is along the floor and we are also going to get rid of these two sockets on the baseboard. We are not going to worry about the other ones because that's just a lot of busy work, you can do that on your own if you like. And we are going to do this healing inside of the vanishing point filter. Now, first, let me show you why it's so essential to use the vanishing point filter for this kind of stuff. Notice that we do have some perspective associated with this baseboard.

Now, it may appear as if these two lines for examples here are almost parallel to each other but they are just off enough because they are both declining toward a common horizon line. They are just off enough that it's going to cause you some real problems, create some real problems when you're trying to heal these sockets away inside of Photoshop. Just to demonstrate, I am going to grab my standard healing brush, this guy right here, not the spot healing brush. And I am going to press the Alt Key or the Option key. Actually, first, I need to make sure that I am working under right layer, I have got the Clone layer active.

Let's switch to the Background layer here. Then I will press the Alt key or the Option key in order to set the source point and then, I will paint away to the best of my ability this line and this line here. Notice that even though I've got the top line in place, the bottom line is way off. And that's just a distance, notice that's a distance of about an inch here on screen, and yet that ends up rendering this much difference in perspective. It's really amazing how much perspective is going on even in what is really probably inside the gallery about six inches, so not going to work using healing brush.

We could probably do it in the couple of different passes here, do the top line in one pass and the bottom line in another pass. But why bother, particularly because the vanishing point filter automatically deals with the perspective, but also because healing is handled so very, very well inside vanishing point better in many regards than it's handled outside of the vanishing point filter. So let's go ahead and undo that modification. Click on the Clone layer to make it active and then I am going to press Ctrl+Shift+N and I am going to name this new layer Healing, and click OK in order to accept that new layer.

Now, let's go up to the Filter menu and choose Vanishing Point. And in order to heal away details to paint with a healing brush inside of vanishing point, you take advantage of this guy right here, the Stamp tool which is a tool that's available to you inside Photoshop. The thing is with the Stamp tool in Photoshop you just clone details away, you don't heal them at all. But the Stamp tool does double duty inside vanishing point. So go ahead and click on that tool. Now, at least for me, by default, healing is turned off, and let's leave it off for now just so you can get a sense of how this function works.

Alright, my cursor looks like an Arrow tool which is really weird because I really have a brush selected, and it's going to continue to look like this arrow until I Alt or Option-click. So let's go ahead and do that. Press and hold the Alt key or the Option key on the Mac and click at a point from which you want to clone, so this is a source point. Now, go ahead and release Alt or Option and notice that you get a real-time brush preview, is that not cool? So you can see exactly how the source is going to align with the destination. And I will move my cursor around here until I get things exactly lined up.

This looks actually pretty good I think. And when I am satisfied that the source and destination line up, I will just go ahead and click in order to cover up that socket. Now, that's a pretty good match. The one problem is it's a great match in terms of the perspective as you can see here, the bad thing is that I had healing turned off so Photoshop made no attempt to heal the transition, so we have some pretty sharp transitions going on. Let's go ahead and undo that modification by pressing Ctrl+Z or Command+Z. Turn healing to on so that you are healing both the luminance and the color values.

And then, one of the things when you are healing inside Photoshop, especially when you are healing along the edge of one of the plains here, those plains can get sort of in your face, they can block your view of what's going on. So let's hide those edges by going up to the Window menu and choosing the Show Edges command, and turn it off. You can also press Ctrl+H or Command+H on the Mac to turn those edges on or off. Alright, they are still in play of course, it's just that they are hidden from view. And now, because the aligned checkbox is on by default, we have already established the distance between the source and destination in the previous operations.

So all we need to do now is line up the cursor and click in order to heal away that socket. Is that not amazing? Now, there is another little weird edge right there. If I move the cursor away, you can see what I am talking about, that vertical edge, it looks like somebody has been in here editing this image. May well be, but we can take care of it of course. Let's say Alt-click or Option-click again to set a different source point. And I will click when I feel like I have got things lined up. Actually, my brush cursor is a little big. So I will reduce the size of my cursor by pressing the left bracket key.

So you can change the size of that cursor on the fly by pressing left bracket or right bracket. You can also change the hardness on the fly in 10% increments this time by pressing Shift along with one of the bracket keys. Alright, I am going to reduce the size of that brush a little bit and then, I am going to line up the brush and click in order to heal away that edge, that looks very nice in my opinion. And let's do another Alt-click. This time I think I will, no, no, this actually looks pretty good. I will go ahead and Alt-click at this location.

Notice that you are really not going to see through the brush so the source information is going to block wherever you are trying to Alt-click. Just don't worry about that, just Alt-click or Option-click where you want to set the source, and then I will make my brush a little bigger this time by pressing the right bracket key, I'll line up the source in the destination and I will click to heal away that socket. Now, something else that's really amazing because the line is turned on, notice that I am just moving from one plain to another, so I can use that same source point in order to heal away this socket.

I don't have to set a new source by Alt-clicking or Option-clicking, all I need to do is just click on that socket, it goes away. There is another little sort of weird smudge right there, notice that. So I will just click to make it go away as well and I've healed the floor. Was that not amazing? And further amazing inside of vanishing point 2.0, you can heal across back and forth across multiple surfaces as long as you have Allow Multi-Surface Operations turned on as it is by default, so check this out. I can now scrub just kind of back and forth like this over both the floor and the baseboard.

Now, I ended up introducing a little bit shadow because I was being sloppy, but it's just totally amazing to me that you can do that. Alright, I will undo that modification because it wasn't really good modification. Compare that by the way to having Allow Multi-Surface Operations turned off, in which case, you are going to get some really kind of aberrant bizarre effects here, definitely not something that I consider to be desirable, I hope you don't either. Let's go ahead and undo that modification. So when using the healing brush that is the Stamp tool set to the healing mode, make sure that Allow Multi-Surface Operations is turned on.

Alright, anyway, we have done a terrific job of healing away the sockets inside of this image. Go ahead and click OK in order to deposit the results of that modification here on to this independent healing layer. So there is the baseboard modifications and over here, even more successful, I dare say is the floor modification, all thanks to healing inside of vanishing point.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39113 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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